“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.
A shortlist of six images have been announced for this year’s World Press Photo of the Year, and three photographers shortlisted for a new award that celebrates visual storytelling – the World Press Story of the Year.
The six images shortlisted for World Press Photo of the Year are: Victims of an Alleged Gas Attack Receive Treatment in Eastern Ghouta by Mohammed Badra (Syria); Almajiri Boy by Marco Gualazzini (Italy); Being Pregnant After FARC Child-Bearing Ban by Catalina Martin-Chico (France/Spain); Covering the Disappearance of Jamal Khashoggi by Chris McGrath (Australia); Crying Girl on the Border by John Moore (United States); and Akashinga – the Brave Ones by Brent Stirton (South Africa).
The three nominees for the World Press Story of the Year are Marco Gualazzini (Italy), Pieter Ten Hoopen (Netherlands/Sweden), and Lorenzo Tugnoli (Italy) – making Gualazzini the first photographer to have been nominated for both the World Press Photo of the Year and the World Press Story of the Year.
When Felicia Honkasalo’s grandfather passed away in 2009, he left behind boxes full of rocks and minerals, and stacks of notes, sketches, and fading photographs. “No one else in the family wanted them,” says Honkasalo, who never got the opportunity to meet her grandfather, “I was really intrigued by it all, but I didn’t really know what to do with it at first”.
Honkasalo’s debut book, Grey Cobalt, is an attempt to construct imagined memories of her grandfather, who was a metallurgist during the Cold War in Finland as well as an avid cosmologist. Published by Loose Joints, the book release accompanies an exhibition at the Webber Gallery in London, which will run till 15 February.
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.
Peppers Hideout, Perv’s House, the High Chaparral, the Patio Lounge, and the Showcase Lounge – the names alone are intriguing. They were the clubs of Chicago’s South Side in the 197os, which played underground funk, blues, and early disco, and which also played host to a glamorous crowd of music-lovers. “It was a living self-contained theatre,” said Michael Abramson, the photographer who photographed the scene. A white man in a predominantly black crowd, popping off half a dozen rolls of film every night with a Leica and a flash, Abramson was an unlikely chronicler. But, throwing himself into the lifestyle, he was able to win his subjects’ trust by getting into their scene – caught on film drinking, laughing, and dancing with his subjects into small hours, he “had a ball”, he said. Born in New Jersey in 1948, Abramson was working on his Master of Photography from the Institute of Design, Illinois Institute of Technology in Chicago when he shot the series for this thesis; the photographs won him a National Endowment for the Arts in …
“I never had trouble walking up to people and asking them to take their picture,” photographer Arlene Gottfried (1950-2017) told The Guardian in 2014. Largely unknown to the public for the majority of her career, it was her black-and-white photographs of New York in the 1970s-80s that first sparked an interest in her work. Looking at them, it’s clear that Gottfried had a way with people as well as with images. “Arlene had a way of looking at the world with curiosity and love that was distinctly her own,” says Daniel Cooney, who runs a gallery of the same name currently showing Gottfried’s work.
The prominent photo editor Patrick Witty was publicly accused of sexual misconduct on 29 January, in a report published on Vox.com by the journalist AJ Chavar. In his report, Chavar stated that Witty, who has worked at National Geographic, Time, Wired, and the New York Times, was investigated for sexual misconduct by National Geographic last Autumn; Chavar’s story added testimonies by women photographers, some anonymous but two named. In response, Witty has released this statement to the media, via his lawyer Stephen B. Pershing.
“I’m deeply sorry that some of my past behavior has been hurtful to women.
“I was raised by six powerful women – five older sisters and my mother, now 86 – who taught me to respect women and to fight for women. I’ve advocated and championed women’s advancement as photographers and editors my entire career.
“With firm conviction, I deny that I’ve ever engaged in any behavior that amounts to sexual aggression. I also strongly deny ever insinuating that I would give someone professional help – or withhold it – on condition of sexual favors or romantic interest. I’ve never been accused of wrongdoing of any kind in the workplace, so I was shocked and dismayed when I first learned of the accusations against me.
He’s a huge name in the industry, having worked at National Geographic, Time, Wired, and the New York Times (where he was part of a Pulitzer-winning team). But yesterday Patrick Witty was the subject of a long story published on Vox.com, which alleged he was investigated by National Geographic for sexual misconduct last Autumn. The story went on to add that more than 20 people had come forward to Vox.com to report experiencing, witnessing, or hearing corroboratory reports of his inappropriate behaviour.
“I’m thrilled to be given the opportunity to lead an organisation I have admired for so many years,” says Shoair Mavlian of her new role, director of Photoworks. “I look forward to working with the team, developing partnerships and supporting artists at local, national and international levels to connect new audiences with photography.”