Sony World Photography Awards 2020 Book
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World Photography Organisation
World Photography Awards Limited
9 Manchester Square
London W1U 3PL
United Kingdom
Company Registration Number: 5704470
www.worldphoto.org
BOARD OF DIRECTORS
Sandy Angus
Damion Angus
Scott Gray
WORLD PHOTOGRAPHY ORGANISATION
Scott Gray, Founder & CEO
Anna Bonita Evans, Digital Content Editor
Isabelle Boyd, Designer
Félicie Kertudo, PR Assistant
Mariana Marques, Event Assistant
Giulia Messina, Head of Production
Inbal Mizrahi, PR Director
Faustine Pagès, Marketing Director
Panagiotis Pomonis, Online Project Manager
Ania Wadsworth, Operations Director
DESIGN
Isabelle Boyd
EDITOR
Tracy Calder
PRINTER
Christian Ghin
Tecnostampa - Pigini Group Printing Division - Loreto - Trevi (Italy)
© World Photography Awards Limited
© All image rights remain that of the photographer
in each section unless otherwise stated.
© Judges’ headshots Rob Maloof
www.gauntletstudios.com
ISBN 978-0-9572010-8-8
All rights reserved. No part of this publication may be
reproduced, stored in a retrieval system, or transmitted
in any form or by any means electronic, mechanical,
photocopying, recording or otherwise, without written
permission of the publishers.
Legal deposit: June 2020
Front cover: © Pablo Albarenga, Uruguay, 1st Place, Professional competition, Creative
Inside image: © Will Venter, South Africa, Shortlist, Open competition, Natural World & Wildlife
Contents page: © Stanislav Stankovskiy, Russian Federation, Shortlist, Open competition, Creative
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I write this in early 2020 and as the world faces one of its most
unique challenges it is a welcome respite to be able to look
through some incredible imagery and be reminded of the
wonders of this planet and the creativity and ingenuity of people.
The photography presented through the Sony World Photography
Awards is truly international in scope and is captured by individuals
from all walks of life. I always delight in reviewing the long-list
as it is an introduction to so many different points of view and
cultural nuances from across the planet. I certainly don’t envy
the judges in reducing that down to a worthy shortlist and then
on to individual winners and each year I am incredibly grateful to
the discerning Jury for their hard work, diligence and undivided
attention.
The responsibility that the judges have is significant as the rewards
are substantial. Notably, it is the global platform that the Sony
World Photography Awards offers winning photographers that is
so crucial to them. As one of the most important photography
awards in the world, it can elevate their visibility as artists, provide
exposure for their work and help drive their careers forward.
© Magdalena Stengel, Germany, Shortlist, Professional competition, Portraiture
It is now our responsibility, as the World Photography Organisation,
to promote the photographers as much as possible. Throughout
the year we work to exhibit winning and shortlisted projects and
ensure that the Awards provides awareness and appreciation
for the photographers’ work. We are immensely lucky that we
are able to work with Sony on this activation. Sony share our
commitment to this medium and to the individual photographers
and together we will continue to celebrate their work and raise
the profile of photography as art.
In my opinion, photography should be experienced. It is an
incredibly diverse and dynamic medium and seeing photographs
curated, printed and framed adds meaning and depth to the
work itself. It is a pleasure to flip through these pages and enjoy
this work. I sincerely hope that you too are able to take a moment
to appreciate this book, these incredible photographers and the
stories they tell.
Scott Gray
Founder & CEO
World Photography Organisation
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Sony is proud to have once again partnered with the World
Photography Organisation for the 13th annual Sony World
Photography Awards, providing a platform for incredible images
and photographers to be recognised on a global scale.
In a world where everything exists to be photographed, these
talented photographers have captured not just a moment in
time, but also the essence of the story that lies behind the image.
An idea that was especially prominent in this year’s entries, due
to the addition of the ‘Environment’ category in the Professional
competition.
When you have a camera, you hold a window to the world,
one which can open the viewers’ eyes to places, people and
perspectives they have never seen before. Every photo in this
book will take you on an unexpected journey. From the ice fishing
lakes of Canada to the man-made cities on the border of Tehran,
and even to the Niger delta river; I have travelled the world within
its pages.
At Sony we believe in the power of photography and are
fully committed to supporting photographers by listening and
learning from them. It is through this open dialogue that some of
our greatest digital imaging innovations have been developed,
always with the singular aim of helping photographers achieve
the best possible image. Whether it’s fantastic corner to corner
resolution using a Sony lens; getting closer to the action with silent
shooting; or capturing a fleeting look in someone’s eye with ultrafast
and precise Eye AF, our industry-leading technology and
continually growing line-up of native lenses allows photographers
to capture images never before possible.
It is through these innovations that we have been able to maintain
our market leadership in full-frame cameras. A position which
comes with a continued responsibility to create industry-leading
technology which further pushes the boundaries of what’s
possible in photography, but also works for the photographer;
allowing them to focus on composition, framing, lighting and all
the other elements that help them capture and share a moment
in time.
Our mission is to bring photography to everyone. Be it through our
camera sensors, smartphones, compacts, APS-C and full frame
mirrorless line-ups, and of course the Sony World Photography
Awards. We share the same passion for photography as all those
who entered the Awards this year, and I am personally honoured
to have been a part of the process.
If this book inspires just one person to pick up a camera and
capture the truth of their world, then we will have achieved our
goal. Maybe next year, this book will tell your story.
Ken Morisawa
Head of Digital Imaging Europe
© Marko Dimitrijevic, Switzerland, Shortlist, Professional competition, Natural World & Wildlife
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Outstanding Contribution to Photography
164
Open Photographer of the Year
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Judges
206
Student Photographer of the Year & Shortlist
22
Photographer of the Year
218
Youth Photographer of the Year
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Professional Winners
220
National Award Winners
162
Open Winners & Shortlist
232
Thank you
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OUTSTANDING
CONTRIBUTION TO
PHOTOGRAPHY
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GERHARD STEIDL
© Robbie Lawrence
There are few people in the world of fine arts publishing who
have not heard of Gerhard Steidl, and even fewer in the
world of photography. For over 50 years, he has committed
himself to helping photographers make the very best books
possible. Nobody knows more about paper, ink and bookcraft.
More importantly, for Gerhard Steidl the book is the primary
art form for the medium. To make a great photobook is to
make a great work of art. Complex and profound, popular
and accessible.
You will see the Steidl logo on book spines bearing the names
of everyone from Robert Frank, William Eggleston and Susan
Meiselas, to Roni Horn, Mona Kuhn and Dayanita Singh. The
extraordinary renaissance of photography publishing, in the
face of the Internet and the presumed ‘death of print’, has
been spearheaded by Gerhard Steidl. Globally, there are
now more publishers of photographic books than at any other
time and, directly or indirectly, they all owe something to this
man. So, it is fitting that Gerhard Steidl is the Outstanding
Contribution to Photography recipient for the Sony World
Photography Awards 2020.
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Steidl is one of the very few publishers that is also a printing
house. From all over the world, photographers come to the
HQ in Göttingen, the German town where Gerhard was born
in 1950. It is a humble-looking building, on a narrow street.
The sole printing press is on the ground floor, and above are
offices, design studios and a reprographics facility. At the very
top there is a kitchen, and a library housing the hundreds of
books that make up the Steidl back catalogue. This is also
where photographers and authors base themselves for the
days when they are here to work on a book. Whenever I visit,
I imagine a cross section of the building, like a scene from
a Wes Anderson movie, with everyone on each floor busily
pursuing the same single goal – the making of great books of
photography.
© Koto Bolofo, Printing, 2020 © Koto Bolofo, Printing, 2020
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I first worked with Gerhard in 2012, on Walker Evans: the
Magazine Work. It was very much a publication about
publishing, and Gerhard relished the technical challenge
of getting Evans’ often very old pages reproduced as well
as possible in facsimile. At the time, I knew very little about
the whole process, but I knew Gerhard was the expert. Over
lunch (it is true, Steidl has an in-house chef, named Rüdiger)
I confessed I had no idea how a book is actually printed. His
eyes lit up. “Finish your soup and come with me.” He took me
down to the press and explained, with a lifetime’s experience
and the enthusiasm of a brainy kid, exactly how it all worked.
The photographer David Goldblatt’s book The Transported of
KwaNdebele was on press that day. Gerhard noted that the
richness of the black ink was the key to this book of workers
on dimly lit buses in the South African night. Get that richness
right and all else would follow. We looked at a printed sheet.
Gerhard recalibrated, called for it to be reprinted, and
summoned the photographer to see the result. Goldblatt,
hardly a novice when it came to printing, could barely see
the difference. Gerhard smiled. “Trust me. It is better.”
At every opportunity I pick Gerhard’s brains. Why not learn
from the best? Last summer I was in Göttingen to work
on a book I had edited and helped to design, Anastasia
Samoylova’s FloodZone. I asked how much of a structural role
the end papers needed to play in the binding of this book.
Did they hold it all together? “David,” he said, “You always ask
me the most direct questions.” I apologised. “No, no, these
questions are the best. Nobody else asks me these! We should
hold a public conversation: Ask Steidl any dumb question
about making a book!”
© David Goldblatt, The Transported of Kwandebele, 1989
© Walker Evans: the Magazine Work
© Ed Ruscha, On the Road, 2009
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© Ingrid Sischy (ed.). Andy Warhol’s Interview. The Crystal Ball of Pop Culture, 2004
© Koto Bolofo, Printing, 2020
© Dayanita Singh. Museum Bhavan, 2017
A kind of mythology has grown up around Gerhard Steidl, most
of it perfectly justified. Yes, at work he looks like a technician
in a laboratory, because that’s how he sees himself. A white
coat, with several pens in the top pocket, and a no-nonsense
air of efficiency. Yes, he wastes few words. Yes, he is constantly
busy. And yes, yes, yes, you might have to wait some time
for your book to be ready. What is less known, but greatly
appreciated by the photographers that work with him, is his
ability to listen as they explain their vision and hopes for their
books. In the end, Gerhard’s aim is to help them achieve this.
Everything serves the photographers’ images in sequence.
The graphic design is always sympathetic and restrained. The
choice of paper, ink, and binding is considered with great
care.
To mark Gerhard Steidl as the Outstanding Contribution to
Photography recipient in this year’s Sony World Photography
Awards, there will be an exhibition at Somerset House, titled
One Love, One Book: Steidl Book Culture. The Photobook
as Multiple.
© Christoph Schifferli (ed.). The Japanese Box, 2001
Text by
David Campany
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2020 JUDGES
Mike Trow (Chair)
Editor, Photographer, Consultant, United Kingdom
Mike began his career as an editor and reportage agent for the major
agency Colorific before working as Picture Editor on magazines including
Bizarre and Jack magazine. He was at British Vogue for 13 years, where he
led a team that commissioned, produced and art directed all portrait and
feature shoots. As a photographer, he shot for Vogue and other titles. He
now works as a curator, consultant, freelance editor and photographer.
Mike’s also chaired the judging panel for the Sony World Photography
Awards since 2018 and curated the related exhibitions at Somerset House.
Gwen Lee
Director, Singapore International Photography Festival, Singapore
After six years in the museum industry, Gwen Lee became co-founder of
Singapore International Photography Festival (SIPF). In 2013 she embarked
on curatorial research in Germany supported by Goethe Institut Singapore
and National Arts Council. In 2014, Gwen and the SIPF team built an
independent art space called “DECK” to provide an all-year-round
platform and residency program for photographers in Singapore. Gwen
has curated and organised over 60 photography international exhibitions
including Flux: Contemporary Photography from China at Art Science
Museum and solo exhibitions of Daido Moriyama and Araki Nobuyoshi.
OPEN & YOUTH
Gisela Kayser
Managing Director & Artistic Director, Freundeskreis Willy-Brandt-Haus,
Germany
Gisela Kayser has been the Artistic Director of Freundeskreis Willy-Brandt-
Haus since 1996 and is responsible for the institution’s cultural program. In
2011, she was appointed Managing Director of Freundeskreis Willy-Brandt-
Haus. For 23 years Kayser and her team have put together 10-12 exhibitions
each year at the Willy-Brandt-Haus, focusing on photography and socially
engaged topics. She has also accompanied and supported several
exhibition projects as a curator in various other museums and galleries.
Gisela Kayser has also been a jury member at award ceremonies of the
University of the Arts Berlin several times, in 2008 she was a nominator at
the International Center of Photography/New York and jury member for
the Alfred Fried Photography Award in 2019.
STUDENT
Tim Clark
Curator, Writer & Editor–in–Chief 1000 Words, United Kingdom
Tim Clark is a curator, writer and since 2008 has been Editor-in-Chief and
Director at 1000 Words. He’s also served as Associate Curator at Media
Space, The Science Museum, London; Artistic Director of Photo Oxford
2017, together with Greg Hobson; Curator of Photo50, London Art Fair
2019; and Guest Curator of FORMAT International Photography Festival
2019. Clark has curated numerous solo exhibitions of artists such as Alec
Soth, Julia Margaret Cameron and Martin Parr. He writes for Photoworks,
FT Weekend Magazine and British Journal of Photography, amongst
others. He is Associate Lecturer on the MA Photography at NABA Milano,
and led the first Photography & Curation course at The Photographers’
Gallery in partnership with London College of Communication where he
is also Associate Lecturer on the BA Photojournalism and Documentary
Photography.
PROFESSIONAL
Katie Hollander
Director, Annenberg Space for Photography, United States
Katie Hollander is the Director of Annenberg Space for Photography in Los
Angeles, where she began serving as Interim Director in November 2017.
Hollander has extensive management and programming experience
working in the field of arts and culture, including Deputy and then
Executive Director of the highly-regarded nonprofit public arts organization
Creative Time. Hollander also served as Executive Director of ArtTable.
Hollander received an MA in Art History from the University of Manchester
at Sotheby’s and an MA in Arts Administration from New York University.
Brent Lewis
Photo Editor, The New York Times & Co-Founder, Diversify Photo, United States
Brent Lewis is a Photo Editor based out of New York City and co-founder
of Diversify.Photo, a website and database of 300+ photographers of
color from across the globe. Brent is a photo editor at The New York Times
working on the Business Desk, assigning visual coverage of the economy
and the auto industry. Brent was formerly the Senior Photo Editor of ESPN’s
The Undefeated. He was a staff photojournalist with stints at The Denver
Post, The Rockford Register Star and the Chillicothe Gazette. Through the
years his photos have been used by the Chicago Tribune, Los Angeles
Times, Associated Press, Forbes, and Yahoo! News.
Claudi Carreras Guillén
Independent curator, editor, and cultural manager, Spain
Claudi Carreras is a photography researcher, graduated and doctoral
candidate in Arts from the University of Barcelona. He has curated
numerous solo and collective exhibitions which have been shown in more
than 50 countries across four continents. He was a founding partner of the
publishing house Madalena in Brazil and collaborates with international
publishing houses. He is currently the director of VIST and a curator on the
past edition of the Latin American Forum of Photography in São Paulo,
Brazil.
Touria El Glaoui
Founding Director, 1-54 Contemporary African Art Fair, United Kingdom
Born and raised in Morocco, Touria El Glaoui completed her education
in New York before beginning a career in the banking industry. After 10
years in the field, she relocated to London, where she initiated the 1-54
Contemporary African Art Fair in 2013. She has since launched the Fair
in New York in 2015 and Marrakech in 2018. She’s spoken widely and
chaired numerous discussions on contemporary African art and women
in leadership. Touria is also on the advisory board of Christie’s Education.
She was listed amongst the 100 most powerful women in Africa by Forbes.
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Pablo Albarenga
- Uruguay
Seeds of Resistance
In 2017, at least 207 leaders and environmentalists were killed
while protecting their communities from mining, agribusiness
and other projects threatening their territories. According to a
2018 report by Global Witness, most of these cases occurred
in Brazil with 57 assassinations being recorded, of which 80%
were against people defending the Amazon. While the statistics
expose an alarming situation, they fail to provide detailed
information about the stories and people behind these figures,
nor about the struggles they still face.
Despite being immersed in such a violent situation, indigenous
and traditional populations refuse to abandon their land, even
when it has been completely destroyed. The reason for this
stoicism lies in their unique bond to their territories - this land is
their life-support system, a sacred area in which hundreds of
generations of their ancestors rest.
The overall quality and imagination shown by this year’s entrants
is exciting, challenging and moving. The jurors this year, Claudi
Carreras Guillén, Touria El Glaoui, Katie Hollander, Gwen Lee,
and Brent Lewis are all gifted, caring and committed editors and
curators who engage with photography profoundly. Working
with them over the two days of judging was intense and serious,
but the process was carried out with great humour. I always find
it remarkable that such a diverse set of independently-minded
practitioners can reach agreement so equably and intelligently.
All of us appreciate the difficulties and challenges faced by
photographers, and I hope that the images here, and in the
accompanying show, give people a sense of the voices of
these individual practitioners. To have the privilege to work with
the World Photography Organisation and Sony again is not
something I take for granted, and I would like to thank everyone
involved behind the scenes in making this happen.
This year’s winner comes from the Creative category and is
a brilliant set of images - portraits and landscapes shot from
above and spliced together to make a poignant, beautiful
and powerful body of work. The series highlights the plight of
indigenous and traditional populations and the land that is being
taken from them. It is important in these times to highlight the
most vital issues facing the world and I will always believe that
photography is brilliant at making complex stories accessible
to all who see them. It cannot necessarily explain but it always
creates a visual basis from which dialogue flows.
that the Amazon basin is drier and more flammable than ever.
It’s a feedback circuit that will only get worse unless we enable
ways to adjust our needs. Pablo’s pictures graphically show this.
By photographing his subjects from above, Pablo gives us a
bird’s-eye view of the people and the landscapes they are a part
of. Placing these portraits next to the land and water evokes a
number of feelings about the situation. There is something coffinlike
about the way these people are lying on the ground - as
though they are pinned butterflies in a glass case. Perhaps this
is how we will remember the last tribes - a history of destruction
of land and peoples who have done nothing to warrant their
demise in the face of a voracious world finding it hard to
acknowledge our collective responsibility to them.
The judging this year was challenging - there were a number of
extraordinary stories and sets of images that could have won
the overall title, but Seeds of Resistance really stood out. Pablo
is from Uruguay and this project is deeply personal to him as
a photographer. The effort required to envisage, produce and
shoot this series is laudable in every way.
Below image:
José is one of the leaders of the Achuar indigenous people in the
Sharamentsa community. He defends his rainforest by generating projects
in collaboration with external organisations. One of Jose’s projects aims
to form a local patrol group that will guard their territory with the aid of
aerial technology such as drones.
Left: José lying down in his yard on a banana leaf, dressed in traditional
Achuar clothing.
Right: The Achuar rainforest at the back of José’s house. Sharamentsa,
Pastaza, Ecuador.
Seeds of Resistance is a project that seeks to explore the bond
between the land defenders and the territories they inhabit, in
a single image. By using aerial footage, the main characters in
the stories are seen from above, as though they are laying down
their lives for their territory. Then, a second image is shot from
a much higher altitude to show their land and reveal, where
possible, the threats they face.
These images are a powerful visual record of how deforestation
goes hand in hand with the destruction of communities and
peoples. Ironically, the very people being displaced are those
who have lived harmoniously with nature for thousands of years,
and who impact the environment less than anyone. Last year
alone an area the size of the UK was lost to deforestation globally,
and in the Amazon rampant logging was exacerbated by huge
wildfires. These fires are a corollary of global warming - meaning
Mike Trow
Chair, Professional competition
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Nantu is an indigenous young man from the Achuar Nation of Ecuador
who leads a project of solar-powered river boats for collective transport.
By installing solar panels on a specially designed boat’s roof, he is
working to end Achuar’s dependence on petrol.
Left: On his land, Nantu lies dressed in traditional Achuar clothing.
Right: the pristine rainforest from the Achuar territory. Sharamentsa,
Pastaza, Ecuador.
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Ednei (20) is a young Arapiun indigenous leader
who has recently joined the land guard team
at the Indigenous Territory of Maró (TI Maró)
by the Maró river, an area which covers 42,000
hectares of untouched, pristine rainforest. The
team carries out regular surveillance beats
across the rainforest, watching for illegal loggers
and poachers stealing from their sacred land.
Right: 26 huge precious logs captured by the
TI Maró team in one of their beats, now lying
by the road track. Measuring 1 to 2 meters in
diameter, the 26 logs rot to fertilise the land.
Left: Ednei is portrayed lying on the road tracks
left by logger trucks driving close to the borders
of the Indigenous Maró Territory.
Dani is an LGBT activist from the Prainha II
community, by the Tapajós river who fights
for her LGBT recognition and also to defend
their territroy from agri-business expansion. The
natural reserve where she lives is surrounded by
soybean fields.
Left: One of the soybean fields next to Dani’s
territory. Middle: Dani lying on her territory.
Right: The border between the rainforest where
Dani lives and the soybean fields. Pará, Brazil.
Larissa is an indigenous woman and mother of
Borari decent who is part of Suraras do Tapajós,
a group of indigenous women who live in Alter
do Chão, a small town on the banks of the
Tapajós river. The town, which has become a
popular tourist destination, is considered by the
group to be their indigenous village. The women
protect their village from pollution as well as from
riverside real-estate projects.
Left: Larrissa floating on the Tapajós river in Alter
do Chão.
Right: The many boats that offer transport to
tourists in Alter do Chão. Pará Brazil.
Joane (20) is an indigenous woman who leads a
group of youngsters in defending the rainforest
from plastic contamination in her village
Suruacá, a territory within the Tapajós-Arapiuns
Extractive Reserve, in the Brazilian Amazon.
Plastic pollution, which is destroying the river
and rainforest fauna, gets to Suruacá through
different means: packaging of food and
beverages bought by locals to compliment their
shrinking traditional food chain, waste thrown
from passing boats, and from the emerging tourist
resort across the river. As waste management is
nonexistent, Suruacá villagers burn plastic on a
daily basis. The fires often get out of control and
burn the surrounding rainforest. Joanne is asking
authorities to implement a waste collection
system and promotes recycling in her village.
She does so by encouraging fellow villagers to
use organic waste to produce natural gas and
compost to fertilise their orchards and lower their
dependence on food packaged in plastic.
Right: Joane lying on the sand, by the Tapajós
river shore.
Left: Plastic waste reaches the river beach, close
to Suruacá village. Pará, Brazil.
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Drica (29) lives in Tapagem, a quilombo by the banks of the Trombetas
River, in the Brazilian Amazon. The quilombos are home to descendants
of escaped African slaves. Those who managed to escape, settled
deep inside the rainforest for protection. Drica is the first woman to
have been elected as Quilombola Territory Coordinator. Some of the
challenges faced by her quilombo include eager loggers and pollution
from a nearby bauxite mine but for Drica the greatest threat is from a
proposed hydroelectric dam project which will not only destroy the river
environment but also displace the communities from their homeland.
Right: Drica portrayed lying in her ancestral land.
Left: Aerial view of the Rio Norte bauxite mine next to the quilombos’
territory, on the Trombetas River. Pará, Brazil.
Tupi (29) was the first woman in her village to identify as a victim of
violence directed at women. By doing so she sought to address the
rarely discussed issue of gender violence in her village, San Francisco
in Tapajós-Arapiuns Extractive Reserve. As a Tupinambá woman
and leader of a local support group for indigenous women, Tupi has
encouraged others to tell their stories and fight against the gender
violence embedded in their patriarchal society.
Right: Tupi lying down in her home village.
Left: This is the territory Tupi defends: her body and indigenous identity.
Pará, Brazil.
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Recognising exceptional bodies of work across 10 distinct
categories by photographic artists from around the world.
ARCHITECTURE
CREATIVE
DISCOVERY
DOCUMENTARY
ENVIRONMENT
LANDSCAPE
NATURAL WORLD & WILDLIFE
PORTRAITURE
SPORT
STILL LIFE
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ARCHITECTURE 1ST PLACE
Sandra Herber - Canada
Ice Fishing Huts, Lake Winnipeg
Winters in Manitoba, Canada, are long and often bitterly cold. When the
temperature drops, and thick ice forms, lakes and rivers in the province
play host to some amazing folk architecture in the form of ice fishing
huts. These huts, shacks or permies (as they are called in Manitoba) must
be transportable, protect their occupants from the elements and allow
access to the ice below for fishing. Once these requirements have been
met, the owners are free to express their personalities in the shape, structure
and decoration of their huts - they are large or small, decorated or plain,
luxurious or utilitarian and everything in between. I captured these images
on Lake Winnipeg in December 2019. My hope for this series, which is a
continuation of work I started in 2018, is to showcase the quirky charm of
these huts by presenting a select few in a typology. The typology - showing
the huts framed in the same, minimalist style and in the same lighting -
allows the viewer to notice similarities in function and uniqueness in form,
as well as to display these utilitarian structures as beautiful works of art.
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ARCHITECTURE 2ND PLACE
Jonathan Walland - United Kingdom
Structures
For me, minimalisn enables clarity. I approach modern architecture in a
way that eliminates distraction, keeping the viewer focused on the purest
elements of photography: form, light, texture and the way that these
components amalgamate. This body of work required rigid consistency in
order to document the structural forms of each building and demonstrate
the different and unique way in which light interacts with each structure.
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ARCHITECTURE 3RD PLACE
José De Rocco - Argentina
Formalism I
As a graphic designer, I’m drawn to bold colours and shapes. Formalism I
is the result of three years walking the streets and searching for beauty in
places that most people pass by. I tend to take a record shot when I spot
something interesting, and then return repeatedly until I get what I need.
Form is the main theme for this series, but colour is really important too.
Most of the pictures were taken in Argentina, except one that was made
in Uruguay.
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CREATIVE 1ST PLACE
Pablo Albarenga - Uruguay
PHOTOGRAPHER OF THE YEAR
& LATIN AMERICA PROFESSIONAL AWARD WINNER
See full series on page 22
1
1
Julian Illanes is an indigenous man from the Achuar Nation of Ecuador. He
fights to prevent the incursion of a new road into the Achuar territory and the
threat of deforestation, which is already affecting his fellow indigenous Shuar
neighbours. Soon, the new road that is cutting through the pristine rainforest
will reach Copataza, the community where Julian and his family live.
Right: Julian lying down on his sacred indigenous land.
Left: An aerial view of the new road encroaching on the Achuar territory.
Copataza, Pastaza, Ecuador.
2
Vero is an indigenous woman from the Achuar Nation of Ecuador. To many
Achuar women, the process of giving birth is taboo. When it is time to deliver
the baby, mothers leave their homes and give birth by themselves in the
rainforest. Things sometimes go wrong and many women end up losing their
lives during delivery. Vero is part of a pregnancy health care project that
supports women during their pregnancies and afterwards. To do her work,
she combines modern medical instruments with medicinal Achuar plants
traditionally used for the care of mothers and their children.
Left: Vero lying on her sacred Achuar territory.
Right: Vero’s garden in the rainforest, where many of her ancestral medicinal
plants are grown. Sharamentsa, Pastaza, Ecuador.
2
Seeds of Resistance
In 2017, at least 207 leaders and environmentalists were killed while
protecting their communities from mining, agribusiness and other
projects threatening their territories. According to a 2018 report by Global
Witness, most of these cases occurred in Brazil with 57 assassinations
being recorded, of which 80% were against people defending the
Amazon. While the statistics expose an alarming situation, they fail
to provide detailed information about the stories and people behind
these figures, nor about the struggles they still face.
Despite being immersed in such a violent situation, indigenous and
traditional populations refuse to abandon their land, even when it has
been completely destroyed. The reason for this stoicism lies in their
unique bond to their territories - this land is their life-support system, a
sacred area in which hundreds of generations of their ancestors rest.
Seeds of Resistance is a project that seeks to explore the bond between
the land defenders and the territories they inhabit, in a single image. By
using aerial footage, the main characters in the stories are seen from
above, as though they are laying down their lives for their territory. Then,
a second image is shot from a much higher altitude to show their land
and reveal, where possible, the threats they face.
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CREATIVE 2ND PLACE
Dione Roach - Italy
Kill Me With an Overdose of Tenderness
Kill Me With an Overdose of Tenderness is the result of several years
collecting snapshots and screenshots from online posts, chats, Skype
and WhatsApp calls. It’s a critical comment on image production and
consumption today, as well as a visual exploration of gender, sexuality and
technology. Crucially, the work looks at the way relationships and intimacy
are lived and expressed through the internet. I was particularly concerned
with the idea of self-representation: in an age where most of us have the
ability to share images in an instant, the Self becomes something that is
performed online. This work seeks to open a discourse about how we use
photography in an age of smartphones and self-publication.
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CREATIVE 3RD PLACE
Luke Watson - United Kingdom
Witness Objects
Witness Objects features a series of items involved in conflicts ranging from
the First World War to the Siege of Sarajevo, converted into pinhole cameras.
The pieces range from helmets to empty food cans, each one belonging
to an extensive collection held at the Historical Museum of Bosnia and
Herzegovina. These objects are witnesses to events associated with war;
each one designed to perform, protect or survive violent acts. They are
symbols, artifacts and evidence. Their temporary modification into pinhole
cameras has given them an unexpected new function, transitioning them
from passive objects into potentially active tools. The work produced with
these cameras has a tentative, yet symbolic, connection to the object
itself. It references the cyclical nature of conflict, the blurring of fact and
fiction and the stories that go undocumented.
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DISCOVERY 1ST PLACE
Maria Kokunova - Russian Federation
The Cave
It has been four years since I voluntarily isolated myself in a cosy cave
of maternity, living in a country house in Leningrad Oblast. I deliberately
restrict social contact and limit media consumption - my whole life is
bound up in my home, children and art practice. Against all expectations,
however, my life is far from calm and quiet.
The notion of the cave has become, for me, the quintessence of what a
personal experience is made up of. It has been linked to the Anima and
the cult of the earth mother, the symbol of fertile soil that both gives life
and takes it away. Francis Bacon, developing the idea of Plato, stated
that the “Idols of the Cave” arise from education and custom – in short, the
past of each individual determines how they perceive things.
For me, isolation in my own cave triggered a childhood trauma that had
not been resolved emotionally - a stress disorder triggered by a series of
four deaths and a suicide in the family over a very short period of time.
In this project, I am constructing my own personal cave by combining
photographs I have made in my parent’s house with pictures of the place
I am living in now. I pair these images with the experience of a physical
presence in Sablinskiye Caves, near my home. In a cave your senses
are deprived, encouraging hallucinations. Under similar conditions, my
memory produces its own illusions.
My work explores the idea that motherhood, and the awakening of
primitive instincts such as unconditional love, aggression and fear of
death, make life extremely meaningful. Despite its challenges, ‘in-cave’
living boosts creativity: it becomes a personal myth, provides a plot for the
project and initiates reflective processes.
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DISCOVERY 2ND PLACE
Hashem Shakeri - Islamic Republic of Iran
Cast Out of Heaven
The current U.S. sanctions against Iran, and the subsequent fall in the value
of the rial (Iranian currency), are causing house prices in the country to
skyrocket. As a result, many Tehraners have been forced to leave the
capital and move to satellite towns where accommodation is more
affordable.
The Mehr Housing Project, initiated in 2007, was the largest state-funded
housing project in the history of Iran. What followed was rapid growth in
urban population and the construction of new towns. However, measures
to ensure healthy living conditions for the inhabitants of these new towns
was insufficient. Parand, Pardis and Hashtgerd, three newly-constructed
towns on the margins of Tehran, suffered critical shortcomings. These
are huge islands of soaring skyscrapers and indiscriminately developed
apartments filled with crowds of people and cars. They begin, but seem
to have no end.
People from all over Iran are migrating to these new towns, which are
becoming notorious for social pathologies like high rates of suicide among
pupils and drug abuse. The residents of Parand talk about how the town’s
population has doubled over the past six months, reaching 200,000. Yet
the town can hardly provide educational, social and health care services
for 10,000.
Sleep-deprived newcomers leave early in the morning to reach their
workplaces in the capital, often commuting for two to three hours a day.
The relentless repetition of this cycle leads to alienation and frustration. To
add to this, levels of unemployment are escalating.
Here is the land of those cast out of their heaven: the metropolitan Tehran.
And they all share the bitterness of the fall.
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65
DISCOVERY 3RD PLACE
Hugh Kinsella Cunningham - United Kingdom
Invisible Wounds
This project aims to capture the invisible wounds of a viral outbreak of
Ebola in North Kivu, an active conflict zone in the Democratic Republic of
Congo. Hand-printed images were stained in the darkroom, signifying the
unseen virus and trauma sweeping across the region and into the lives of
communities.
With the death toll climbing above 2,000, and a high mortality rate for
those infected, communities already traumatised by years of neglect and
war became increasingly vulnerable. Rumour, suspicions and violence
were rife, with attacks on health workers, as well as organised resistance
from Mai-Mai and the ADF (Allied Democratic Forces).
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69
DOCUMENTARY 1ST PLACE
Chung Ming Ko - Hong Kong SAR
Wounds of Hong Kong
Protests in Hong Kong show no signs of abating after months of unrest.
What began as an objection to the extradition bill has evolved into a
wider protest regarding the future of the city. Reports suggest that since
the demonstrations began cases of depression and post-traumatic stress
disorder (PTSD) have risen among the population. Author Milan Kundera
said: “The struggle of men against power is the struggle of memory against
forgetting”. Scars and bruises may fade, but we must remember what
caused them.
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DOCUMENTARY 2ND PLACE
Didier Bizet - France
1
Baby Boom
Having first appeared in the United States in the 1990s, reborn is a hyperrealistic
doll that resembles a newborn baby. Reborn artists go to great
lengths to ensure that their creations are almost indistinguishable from the
real thing. Many reborns have birthmarks, veins, hair, visible skin pores, and
even saliva. Markets for these dolls range from reborn artists and collectors
to hospitals and adoptive mothers and fathers. The realism of a reborn is
such that some medical centres use them to ease the suffering of clients
with Alzheimer’s disease.
What motivates a woman, or a couple, to “adopt” a reborn - the word
“buy” is frowned upon in these circles - varies. For some, there is the
attraction of caring for a baby that shares their physical features, as well as
the joy of dressing it, taking it out in a pram, or even decorating a room for
the new arrival. For others, a reborn is an antidote to loneliness, particularly
in an age dominated by online communication.
Reborns suffer from a bad reputation, with some suggesting they look
like dead babies. For many, however, these dolls are sources of hope,
wellbeing, and comfort. They may be fake babies, but the happiness, love
and sense of sharing they provide is very real.
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DOCUMENTARY 3RD PLACE
Youqiong Zhang - Mainland China
From “Made in China” to “Made in Africa”
In recent years, Chinese enterprises have moved into Africa, leading
to fresh momentum in the development of the local economy. Africa is
an important node in China’s Belt and Road Initiative (BRI). According
to research, there are now more than 10,000 Chinese companies on
the African continent. Chinese-funded enterprises build factories, bring
advanced machinery and equipment, introduce new manufacturing
technology and management systems and promote the transformation
and upgrading of the local economic structure. In turn, the rich local
natural and human resources support the development of the company.
Ethiopian Oriental Industrial Park is China’s first national-level overseas
economic and trade cooperation zone - at present, more than 80
Chinese-funded enterprises gather here. The industry involves shoemaking,
automobile assembly, chemical manufacturing and pharmaceuticals,
and has provided tens of thousands of jobs.
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81
ENVIRONMENT 1ST PLACE
Robin Hinsch - Germany
Wahala
Covering 70,000 sq km (27,000 sq miles) of wetlands, the Niger Delta
was formed primarily by sediment deposition. The region is home to
more than 30 million people and 40 different ethnic groups, making
up 7.5% of Nigeria’s total land mass. It used to boast an incredibly rich
ecosystem, containing one of the highest concentrations of biodiversity
on the planet, before the oil industry moved in. The Nigerian department
of petroleum resources estimates that 1.89 million barrels were spilled
in to the Niger Delta between 1976 and 1996. What’s more, a report
from the United Nations suggests there have been a total of 6,817 spills
between 1976 and 2001, amounting to some three million barrels of oil.
So far, the authorities and oil companies have done little to clean up and
neutralise the Delta, and oil spills are still very common. Half of the spills
are caused by pipeline and tanker accidents, while others are the result
of sabotage (28%), oil production operations (21%), and inadequate
production equipment (1%). Another issue in the Niger Delta is gas flaring,
a byproduct of oil extraction. As the gas burns it destroys crops, pollutes
water and has a negative impact on human health. Wahala was shot in
Nigeria in 2019 and draws attention to untamed economic growth and
its negative impact on ecology.
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ENVIRONMENT 2ND PLACE
Álvaro Laiz - Spain
Atlas from the Edge
“Can a man sell a piece of his motherland? Can a man sell a piece of his
body? Even for the highest price? No, he cannot! Or he will cease to be a
human being.” Yuri Rytkheu
The Chukchi have lived along the Bering coasts for thousands of years. Their
traditional lifestyle has evolved according to their mode of subsistence,
showing how inhabitant and habitat are not two different entities, but in
fact different sides of the same entity.
This series explores the concept of natural symmetry, and reflects on
the human ability to create fictions, and how these fictions (or myths)
explain and modify the objective world in sophisticated ways. It also
raises questions about the Anthropocene era and how humans relate to
themselves and other species.
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91
ENVIRONMENT 3RD PLACE
Luca Locatelli - Italy
The Future of Farming
By 2050 our planet will be home to as many as ten billion people. If
increases in agricultural yield are not achieved, a billion or more people
could face starvation. Today, however, technology proposes a solution.
For centuries, greenhouses have been used to shield crops and maximise
yield, but in recent years technological advances have led to a revolution
in food production. This series portrays some of the most promising hightech
agro farming systems in the world - systems that may allow us to
reduce dependency on water by as much as 90% and, in some cases,
almost completely eliminate the use of chemical pesticides on plants in
greenhouses. It’s a possible solution to the hunger crisis that may emerge
in future decades, but a dystopic view of the future of farming.
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97
LANDSCAPE 1ST PLACE
Ronny Behnert - Germany
Torii
Evidence of Shintoism and Buddhism - the most common religions in
Japan - can be found in every corner of the country. Shrines and torii
(traditional Japanese gates commonly found at the entrance to Shinto
shrines, marking the transition from mundane to sacred spaces) can be
seen in the remotest of locations, from the middle of the Pacific Ocean to
the highest mountains and the deepest forests.
Most of the time I use neutral density filters to force long exposures and
keep my work minimalist in style. Some of my exposures last five minutes or
more, which makes any distracting elements in the water or sky disappear
- the longer the exposure, the clearer the photograph.
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101
LANDSCAPE 2ND PLACE
Florian Ruiz - France
Project 596 (Chinese Nuclear Landscape)
Lop Nor is a former salt lake, now largely dried-up, located in Xinjiang
province in northwest China. This barren area was used intermittently as
a nuclear weapons testing site from 1964 to 1996, with as many as 45 tests
carried out underground and in the atmosphere. The first Chinese nuclear
bomb test, codenamed Project 596, was conducted here in October
1964. As a result of these activities, the region is still heavily contaminated.
With Project 596 (Chinese Nuclear Landscape) I wanted to show the
invisible danger in this desolate area. Using a Geiger counter I measured
the presence of radiation in becquerels (Bq). The title of each image is the
level of soil contamination I recorded, expressed in Bq.
Using digital techniques, I superimposed image fragments, suggesting
atoms altering and a general feeling of impermanence. These broken
perspectives show the landscape twisting and changing, leading to a
sort of vertigo or malaise. The work hints at the danger hidden behind the
landscapes.
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105
LANDSCAPE 3RD PLACE
Chang Kyun Kim - South Korea
New Home
(Japanese Concentration Camp Sites in U.S.)
This series is about Japanese internment camps that were built in remote
and harsh areas of the United States during the Second World War. These
camps imprisoned 120,000 people of Japanese ancestry - more than 60%
of them were U.S. citizens.
Working on the project reminded me of the racial antagonism we have
witnessed in recent history, and led me to consider how radically our
view can alter when war and terror affect our lives. History can always be
repeated if not properly recalled or told.
The pictures here were taken between 2018 and ‘19 in California, Arizona
and Utah. For the aerial shots, I used a drone to capture the camp sites
- these locations are so harsh and remote that no one would try building
anything here.
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111
NATURAL WORLD & WILDLIFE 1ST PLACE
Brent Stirton - South Africa
Pangolins in Crisis
Pangolins are the world’s most illegally trafficked mammals, with an
estimated one million trafficked to Asia in the last ten years. Their scales are
used in traditional Chinese and Vietnamese medicine, and their meat is
sold as a high-priced delicacy. As a result, pangolins are listed as critically
endangered and anyone who trades or consumes them is breaking the
law. This body of work exposes the illegal trade while celebrating the
people who are trying to save these animals. There are only three true
Pangolin rescue and rehabilitation sites in the world, they are extremely
fragile animals and the vast majority die quickly in captivity.
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NATURAL WORLD & WILDLIFE 2ND PLACE
Masahiro Hiroike - Japan
Himebotaru
Himebotaru is a type of firefly, between six and eight millimetres long, that
lives in the forest. When courting females, males take to the air emitting
short bursts of light much like a flash. Females, on the other hand, cannot
fly and sit on leaves, emitting light in response to the male display.
I’ve been researching the fireflies’ habitat for seven years now - these
pictures were taken in the mountains of Tottori, Japan, in June and July
2019. Exposure times ranged from 13 seconds to 10 minutes. The purpose
of the project is to share this phenomenon with people in the hope that it
will encourage them to protect these wonderful creatures.
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NATURAL WORLD & WILDLIFE 3RD PLACE
Adalbert Mojrzisch - Germany
Extreme-Macro With Focus-Stacking in
High-Magnifications
Most of my subjects are found dead on window sills or in zoological
gardens - in that sense you could say they are unremarkable. At first
glance the insects appear grey and dirty, but when viewed at high
magnifications (usually between 5x and 80x) interesting structures and
beautiful colours begin to emerge. Recording such fine detail requires
specialist equipment, some of which I have developed and assembled
myself. I use a homemade photo-tube, and microscope-lenses corrected
to infinity, mounted on a rail. The subject is lit via four flashes triggered by
a homemade controller. Each image is a composite of between 200 and
600 individual pictures stacked and stitched together. The calculations are
made using Zerene Stacker.
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PORTRAITURE 1ST PLACE
Cesar Dezfuli - Spain
Passengers
On 1st August 2016, 118 people were rescued from a rubber boat drifting
in the Mediterranean Sea. The boat had departed some hours prior from
Libya. In an attempt to give a human face to this event, I photographed
the passengers minutes after their rescue. Their faces, their looks, the
marks on their bodies all reflected the mood and physical state they
were in after a journey that had already marked their lives forever. It was
the beginning of a project that has been evolving ever since.
It soon became clear that the people I photographed on that
August day were not themselves. Their identities had become diluted
somewhere along the way - hidden as a result of fear, or stolen through
past abuses and humiliations.
Over the last three years I have worked to locate the 118 passengers
of the boat, now scattered across Europe, in a bid to understand and
document their true identities. I wanted to show that each individual
had a latent identity that just needed a peaceful context in order to
flourish again.
Saidou. Guinea Conakry (1992).
LEFT: Saidou portrayed on 1st August 2016 on board
of a rescue vessel in the Mediterranean sea.
RIGHT: Saidou portrayed on 23rd June 2019 in Italy,
where he currently lives.
Bacar. Senegal (1983).
LEFT: Bacar portrayed on 1st August 2016 on board
of a rescue vessel in the Mediterranean sea.
RIGHT: Bacar portrayed on 18th June 2018 in Italy,
where he currently lives.
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Abdul. Sierra Leone (1998).
LEFT: Abdul portrayed on 1st August 2016 on board
of a rescue vessel in the Mediterranean sea.
RIGHT: Abdul portrayed on 24th June 2018 in Italy,
where he currently lives.
Oumar. Guinea Conakry (1999).
LEFT: Oumar portrayed on 1st August 2016 on board
of a rescue vessel in the Mediterranean sea.
RIGHT: Oumar portrayed on 19th January 2019 in
Italy, where he currently lives.
Mohamed. Senegal (2003).
LEFT: Mohamed portrayed on 1st August 2016 on
board of a rescue vessel in the Mediterranean sea.
RIGHT: Mohamed portrayed on 10th February 2019
in Italy, where he currently lives.
Abdoulie. Senegal (1999).
LEFT: Abdoulie portrayed on 1st August 2016 on
board of a rescue vessel in the Mediterranean sea.
RIGHT: Abdoulie portrayed on 29th April 2018 in Italy,
where he was living at that time.
Ousman. Guinea Conakry (1996).
LEFT: Ousman portrayed on 1st August 2016 on
board of a rescue vessel in the Mediterranean sea.
RIGHT: Ousman portrayed on 3rd May 2019 in Italy,
where he was living at that time.
Alpha. Guinea Conakry (1999).
LEFT: Alpha portrayed on 1st August 2016 on board
of a rescue vessel in the Mediterranean sea.
RIGHT: Alpha portrayed on 8th February 2019 in Italy,
where he currently lives.
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Malick. Gambia (1998)
LEFT: Malick portrayed on 1st August 2016 on board
of a rescue vessel in the Mediterranean sea.
RIGHT: Malick portrayed on 26th June 2019 in Italy,
where he currently lives.
129
PORTRAITURE 2ND PLACE
Denis Rouvre - France
My name is Diana, I am Kenyan. In Kenya,
there were rumours that I was gay. There was
this boy whose advances I had refused for
a long time. We were in the same class. He
raped me. He heard the rumors and called it
“sexual correction”. When I explained to my
father that I had been raped because of my
homosexuality, he did not take me seriously. For
him, it was better to be raped than to be gay.
I fled to London where I met Dorine, with whom
I have been in a relationship since.
My name is Dorine, I lived in Cameroon. By
the age of 14 I knew I was different. One
day, when I was with my girlfriend, the police
arrested us. While we were being dragged to
the nearest police station, close to my home,
the neighbours came out to throw stones at us.
They were screaming: “We knew, witches, never
come back, you have to cure them”. They
were talking about undressing us in public. We
were tortured. There was no one to pick me up.
I stayed there for a month. It was terrible.
My name is Shreya, I am Indian, I am 30 years old
and I live in Kathmandu. I was born a man and
suffered a lot to become a woman. I had to beg
in the street, I took drugs, I became a sex worker,
then a dancer in a bar. I kept the money to have
surgery. I saw the doctors, an endocrinologist, a
psychologist. I took the medical certificates and
went to the plastic surgeon.
After my surgery, I went back to school,
graduated in social work, and started looking for
work in the private sector. During the interviews,
I was always asked questions about my gender.
They asked to see me naked - they wanted
to see my body, to know if I had a penis or a
vagina.
For me, I’m a woman without a womb, but that’s
fine with me. Maybe I’ll be reborn like that, in a
woman’s body.
Unsung Heroes
Unsung Heroes is a project about violence against women around the
world. In 2019, with support from international humanitarian association
Médecins du Monde, I visited five continents and met more than 100
victims of violence. The women agreed to testify, their faces uncovered,
in front of my camera. Some subjects had suffered violence linked to
displacement following the war in Syria and in Colombia, others had
survived domestic abuse, or the use of collective rape as a weapon in
the Democratic Republic of Congo. Still more had faced moral violence,
sexual exploitation, or discrimination against gender identity in Nepal,
Cameroon and Uganda.
The women I met are shadows that enter the light. The bruises and creases
on the surface of their skin tell a story. Added to this are the voices, the
words, the intimate experiences of violence that were shared. I wanted
to show the suffering experienced by these women, but also their strength
and resilience – in short, their ability to get up and fight again.
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My name is Sanu Nani, I live in a sheet metal
house, without water, in the Khatmandu landfill.
We had to pay off our debts, we didn’t have
enough money to last a month with only a small
piece of land. I gave birth to six children, five
survived. We couldn’t make ends meet, so we
went to look for work. I had a friend who worked
on this site sorting garbage.
It’s not easy to work in these conditions, you
must be very, very careful and protect yourself
well. You never know what can happen, there is
glass, debris and needles too. The bulldozer and
the constant noise of machines scare me, but
you earn enough to survive.
My name is Sarah, I am from Syria. I come from
Homs. I fled to Lebanon because of the war,
partly on foot, partly on horseback…We went
from place to place. I traveled from Arsal to
Zahle by car. But I did the rest of the journey on
foot, walking.
Here, we are all in the same boat - no one is
better off than anyone else. Everything is painful,
everything is difficult. Everything. We are all in
the same situation. We suffer in terms of housing,
food, furnishing, heating etc.
Our biggest worry is the arrival of winter. When
it’s summer, things are okay, but winter is when
we suffer the most. We don’t even have clothes
for the children, the little ones…there aren’t any.
My name is Chantal, I am 30 years old and I live in South Kivu in the
Democratic Republic of Congo. I was harvesting cassava leaves when I
saw them. They were about 20, dressed as soldiers. One of them started
to take my clothes off. He laid me down on the ground. He didn’t even
spread a loincloth. I saw the man take off his pants. This man got on me
and got into my vagina. When he started raping me, I started to cry. As he
was coming out of me, I saw another one undressing. He also penetrated
me and started raping me. The others were still standing, spinning their
weapons. When he was finished, another one started taking his clothes off.
When I realised what they were doing, it sent me crazy. I lost myself. I saw
with my eyes, but my brain was no longer there.
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PORTRAITURE 3RD PLACE
Sasha Maslov - Ukraine
Ukrainian Railroad Ladies
In a country that has been torn apart by political turmoil, war and loss of
territory - not to mention corruption and a permanently troubled economy
- few people pay attention to the women they see from a passing train,
standing still with a folded yellow flag. In this series I explore my childhood
fascination with railroads and the fairy-tale houses that stand beside the
tracks. As a photographer I was drawn to the architecture and interiors of
these buildings. As a storyteller I was attracted by the anthropological and
social roles played by the crossings and the workers. During the course of
this project it occurred to me that the crossings are reassuringly permanent
- they stand firm in the face of constant change. Unfazed by the passing of
trains and time, they are here to stay.
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SPORT 1ST PLACE
Ángel López Soto - Spain
Senegalese Wrestlers
Wrestling has become the number one national sport in Senegal and
parts of The Gambia. It belongs to a larger West African form of traditional
wrestling (known as Lutte Traditionnelle) and is more popular than football.
Senegalese wrestlers practice two forms of the sport: Lutte Traditionnelle
avec frappe and Lutte Traditionnelle sans frappe (international version).
The sport has become a means of social ascendance, making some
athletes millionaires. Fights have been known to attract audiences of
around 50 thousand in a stadium. For many, it’s a slice of African life,
tradition and culture, in which there is a mix of animist and Muslim beliefs.
These pictures show wrestlers training on a beach in Dakar.
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SPORT 2ND PLACE
Lucas Barioulet - France
The Long and Difficult Path of the Mauritanian
National Women’s Football Team
Founded in 2019, the Mauritanian women’s national football team played
its first international match, against Djibouti, last summer (it was defeated
3-1). The Islamic Republic of Mauritania is a deeply conservative society,
and for many the idea of women taking part in such a sport is unpalatable.
Coach Abdoulaye Diallo - a former Mauritanian international player
- visited the playgrounds of Nouakchott to recruit women for the team.
Here he found girls playing football with boys, often in secret. Now Haby,
Coumba, Adjara, Fama and the rest of the team train four times a week
under his watchful eye. “We want to change society’s vision of women
in Mauritania,” claims the director of the feminine football federation,
Oumou Kane. The path has not been easy, but being part of the team
enables women of all backgrounds to play together, in a society that is still
heavily divided.
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SPORT 3RD PLACE
Andrea Staccioli - Italy
Dives
Months of training, tests, gym sessions and refinement of technique came
to a head at the FINA World Aquatics Championships in Gwangju, South
Korea, 2019. Eight days of competitions, 13 disciplines and 267 women
and men from 47 nations compete in the most important competition of
the year. Of the 13 gold medals available, only one, won by Australia,
escaped the Chinese team.
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151
STILL LIFE 1ST PLACE
Alessandro Gandolfi - Italy
Immortality, Inc.
“In the 21st century,” writes Yuval Noah Harari in Homo Deus: A Brief History
of Tomorrow, “humans are likely to make a serious bid for immortality […]
A small but growing number of scientists and intellectuals have posited
that the most important challenge facing modern science is to overcome
death and achieve the promise of eternal youth”.
Can man really become immortal? Few truly believe it, and so research
has focused on cryo-conservation, man-machine hybridisation and
mind downloads instead. The majority of scientists agree, however, that
average life spans will extend up to 120 years of age and that our health
will improve considerably, thanks in particular to the enormous progress
being made in the sectors of bioengineering, nanomedicine, genetics
and artificial intelligence. Research into longevity has already become a
billion-dollar business.
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155
STILL LIFE 2ND PLACE
Elena Helfrecht - Germany
Plexus
Plexus is a photographic case study that uses my family home and archival
material to investigate my ancestors’ history. With this body of work, I
want to raise awareness of how the aftermath of conflicts can affect the
generations that follow, and examine how collective memory is shaped
and influenced. Creating a new sense of identity by confronting the past,
spanning four generations, provides the basis for a detailed investigation
of post-memory, mental health, war and history.
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159
STILL LIFE 3RD PLACE
Fangbin Chen - Mainland China
Disassembled Memory
For many people in the 1980s and ‘90s, riding a bicycle was an important
part of daily life. These vehicles carried not only the burden of life,
but memories too. For me, my bike was more like a companion who
accompanied me throughout my childhood. There was a relationship
between us that taught me the joy of moving forward, but also left me
with painful scars when I fell. When my bike had outlived its usefulness I
decided to disassemble it and record its parts in a specimen-like manner.
I wanted to freeze it forever but, more importantly, I wanted to remember
my childhood memories.
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163
Striking standalone images spanning ten diverse categories.
PORTRAITURE
ARCHITECTURE
CREATIVE
CULTURE
MOTION
LANDSCAPE
NATURAL WORLD & WILDLIFE
STILL LIFE
STREET PHOTOGRAPHY
TRAVEL
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PORTRAITURE 1ST PLACE
Tom Oldham - United Kingdom
OPEN PHOTOGRAPHER OF THE YEAR
Black Francis
Photographers for MOJO Magazine enjoy a rare degree of freedom and
trust with what is usually an open brief. This allows us to capture our own
experience with very high profile musicians. However, when photographing
famous singers, we are often painfully aware of how many times the sitter
has, well, sat. I like to acknowledge this and asked Charles (aka Black
Francis) to show me the level of frustration photoshoots can generate. He
offered up this perfect gesture of exasperation, and the image ran as the
lead portrait for the feature.
© Dmitrii Tulmentev, Russian Federation
© Frederic Aranda, United Kingdom © Gareth Cattermole, Ireland
© Tianhu Yuan, Mainland China
© Ulana Switucha, Canada © Katinka Herbert, United Kingdom
169
© Lorena Zschaber Guimarães, Brazil
© Ottavio Marino, Italy
© David Ridgway, United Kingdom
© Will Bolsover, United Kingdom
© Sawamaru Pokiru, Japan © Greg Turner, United Kingdom
© Justin Keene, United Kingdom © Laurent Caitucoli, France
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ARCHITECTURE 1ST PLACE
Rosaria Sabrina Pantano - Italy
© Eng Tong Tan, Malaysia
© Wen Lu, Mainland China
© Marcin Giba, Poland
Emotional Geometry
Having returned to Sicily for the holidays, myself and a group of friends
visited Fiumara d’Arte, an open museum showcasing sculptures made by
contemporary artists, located along the banks of the Tusa River. Among
these works is 38° Parallelo by Mauro Staccioli - a pyramid that stands
at the exact point where the geographical coordinates touch the 38th
parallel.
© Eleni Rimantonaki, Greece © Paul Crudgington, United Kingdom
173
© Stephen Tomlinson, United Kingdom
© Iraklis Kougemitros, Greece
© Peter Li, United Kingdom
© Massimo Crivellari, Italy
© Justin Chui, Hong Kong SAR
© Franco Tessarolo, Switzerland © Peter Plorin, Germany © Liliana Ochoa, Colombia
© Alexandre B. Lampron, Canada
175
CREATIVE 1ST PLACE
Suxing Zhang - Mainland China
© Stanislav Stankovskiy, Russian Federation
© Marek Juras, Czech Republic
© Martina Holmberg, Sweden
Knot
This picture is from my series ‘Hua’, which means flower in Chinese. Flowers
are often used as metaphors for life and eroticism in art. Hua explores
the commonalities and connections between flowers and the feminine
- in particular, emotional vulnerability and sensitivity. Qualities such as
calmness, and emotions such as uncertainty, fear, anxiety and loneliness,
are translated into conceptual and artistic forms.
In Knot, I used a combination of light and texture to create strong visuals
that heighten the senses. I like to use symbolic and metaphoric ingredients
in my work, which I hope allows the audience to blend their own subjectivity
with the objectivity of the photograph, leading to different interpretations
and emotions.
© Erica de Haas, Netherlands
177
© John White, United Kingdom
© Lucía Benavento, Argentina
© Cristina Coral, Italy © David Swindler, United States
© Katie Farr, United Kingdom
© Julian Fabiolato, United States
© Henry Oude Egberink, Netherlands
179
CULTURE 1ST PLACE
Antoine Veling - Australia
© Antonino Maurizio Clemenza, Italy
© Kinyas Bostanci, Turkey
Mark 5:28
When audience members were invited on stage to dance at an Iggy
Pop concert in Sydney Opera House, Australia, on 17 April 2019, it showed
the warm welcome Aussies extend to overseas artists who travel long
distances to reach them.
A woman’s outstretched arm lunges to touch Iggy. He seems unaware of
her approach as the crowd presses around him. One of Iggy’s assistants,
Jos (in the grey checked shirt) tries to make some space around Iggy. The
scene is reminiscent of a passage from the Bible: ‘Because she thought, “If
I just touch his clothes, I will be healed.”’ (Mark 5:25-34, line 28). The image
has been likened to religious paintings by Caravaggio, and his chiaroscuro
technique. It went crazy on social media, making 40,000 people, including
Iggy Pop, very happy.
© Mahesh Lonkar, India
181
© Sergio Carrasco, Mexico
© Gil Kreslavsky, Israel © Satheesh Chandran, India
© Ignacio Alvarez Barutell, Spain
© Diana Buzoianu, Romania © Ted Lau, United Kingdom
183
MOTION 1ST PLACE
Alec Connah - United Kingdom
© Jessica Chappe, United States
Going Down!
Despite measuring 125 metres high, it took the four cooling towers of
Ironbridge Power Station in Shropshire, England, just 10 seconds to be
demolished on 6 December 2019. The towers had been a feature of
the landscape for 50 years, but were brought down as part of a new
development on the site. The demolition had been a long time coming -
the towers were close to a river, railway line and protected woodland, so
their destruction had to be precise. This picture was taken from my garden,
which is on the hillside opposite the site.
© Lloyd Lane, United Kingdom
185
© Lior Yaakobi, Israel
© Muriel Vekemans, Belgium
© Peter Svoboda, Slovakia
© Emma Williams, United Kingdom
© Marc Le Cornu, United Kingdom © Jonathan Taylor, United States © Roberto Corinaldesi, Italy
187
LANDSCAPE 1ST PLACE
Craig McGowan - Australia
© Or Adar, Israel
© Viktor Einar Vilhelmsson, Iceland
Ice Reflections
A solitary iceberg, set against the fjord walls in Northeast Greenland
National Park.
© Hong Chen, Hong Kong SAR
189
© Stanley Lin, Taiwan Region
© Hsiang Hui (Sylvester) Wong, Malaysia
© Marco Minischetti, Italy
© Kai Hornung, Germany © Kai Hornung, Germany © Marcin Giba, Poland
191
NATURAL WORLD & WILDLIFE 1ST PLACE
Guofei Li - Mainland China
© Shivansh Mathur, India
Tai Chi Diagram
These cheetahs had just eaten an antelope, and were licking the
bloodstains off each other’s faces. It’s a very rare posture, and one that
reminded me of the traditional Chinese Tai Chi diagram. The picture was
taken in Botswana in January 2019.
© Will Venter, South Africa © Julia Wimmerlin, Ukraine
193
© Alex Kydd, Australia
© Filippo Borghi, Italy
© Domenico Tripodi, Italy © Rachel Brooks, United Kingdom
© David Keep, United Kingdom
© Marcus Westberg, Sweden
© Marleen Van Eijk, Netherlands
© Adam Stevenson, Australia © Caroline Paux, France
© Michael Faint, United Kingdom © Anastasia Kaminskaya, Russian Federation
195
STILL LIFE 1ST PLACE
Jorge Reynal - Argentina
© Kihyoung You, Republic of Korea
A Plastic Ocean
Each year, eight million tons of plastic end up in our oceans – equivalent to
emptying a garbage truck into the water every minute. This is my protest
against pollution.
In my language (Spanish), we use the words ‘Naturaleza Muerta’ to refer
to still life, which ironically translates as ‘Dead Nature’.
© Antonio Coelho, Portugal
197
© Igor Kryukov, Russian Federation © Simone Bramante, Italy
© Chris Patterson, United Kingdom
© Ian Knaggs, United Kingdom
© Kunkun Liu, Mainland China © Javier De Benito, Spain
© Arnaud Montagard, France
199
STREET PHOTOGRAPHY 1ST PLACE
Santiago Mesa - Colombia
© Indranil Aditya, India
© Peter Brooks, United Kingdom
Colombia Resiste
In recent years, a number of protests have broken out across Latin America.
Reasons for this unrest range from a proposed end to fuel subsidies in
Ecuador to a rise in metro fares in Chile, and feelings of inequality and
a general lack of opportunity in Colombia. In Medellín, northwestern
Colombia, workers and street vendors clashed with Medellin police. Such
acts of violence have been systematic across Latin America, leaving
hundreds dead or wounded without explanation.
© Tim Johnston, United Kingdom
201
© Jaime Diaz, Spain
© Daniel Heilig, Hungary
© Bülent Suberk, Turkey © Jon Liu, Mainland China
© Joaquín Luna, Spain
© Shawn Yuan, Mainland China © Misha Japaridze, Russian Federation
203
TRAVEL 1ST PLACE
Adrian Guerin - Australia
© Kendall Greene, United States
© James Rushforth, United Kingdom
Riding a Saharan Freight Train
At 2.5km long, the iron-ore train in Mauritania is one of the longest trains
in the world. It covers over 700km on its journey from the coastal town of
Nouadhibou to the Saharan wilderness of Zouérat. More than 200 carriages
are loaded with rocks in Zouérat, before the train begins its long journey
back to Nouadhibou. I rode the train in both directions in July 2019. On the
first leg of the journey I learnt that in order to photograph the full length of
the train I needed to stand on the rocks for height, position myself in a rear
carriage to get the full view, and keep the sun behind me. Alas, none of
this was possible until the morning of day three, at which point I had almost
given up. This shot was taken as I balanced on my toes atop a mountain of
rocks, trying to remain steady as the train jolted from side to side.
© Milosz Wilczynski, Poland
205
© Michael Paramonti, Germany
© Tran Tuan, Vietnam
© Trung Pham Huy, Vietnam
© Chen Jun, Mainland China
© Qing Hu, Mainland China
© Veliko Karachiviev, Bulgaria
© Kaitlyn Kamperschroer, United States
© Manfred Voss, Germany © Jonathan Rogers, United Kingdom © José María Pérez, Argentina
207
The Student competition discovers emerging talent in photography.
Open to academic institutions worldwide, students were
asked to submit a body of work responding to the topic
‘Invisible Lines’. The brief asked students to look at the world’s
unseen boundaries, such as social constructs, and show
the stories of those fighting to break them down through a
positive approach. A shortlist of 10 students were chosen
and given a final brief: to submit five to 10 images relating
to the theme ‘Sustainability Now’. We challenged the
shortlisted photographers to show us a story connected to
environmental sustainability. They needed to consider how
people are trying to stop the emission of greenhouse gases,
combat the problems of deforestation, toxic air pollution,
loss of insects and wildlife or the acidification of oceans. The
Student Photographer of the Year was also awarded 30,000€
of Sony digital imaging equipment for their institution.
© Ioanna Sakellaraki, United Kingdom
STUDENT PHOTOGRAPHER OF THE YEAR
Ioanna Sakellaraki - Royal College of Art
United Kingdom
STUDENT SHORTLIST
Chip Skingley - University of the West of England - Bristol
United Kingdom
Aeiforia
Aeiforia is a Greek word used to define progress based on the use of
natural ecosystems and energy sources to ensure future resources.
In an era of climate change and challenges around sustainability,
islands are particularly vulnerable. Insular by their very nature, these
land masses usually depend on fossil fuels and energy imports (despite
the high transportation costs). A few years ago, the idea of an island
being fully reliant on clean energy was almost unthinkable, but now it is
about to become a reality on Tilos in Greece.
This tiny island in the Dodecanese archipelago is the first in the
Mediterranean to run almost entirely on renewable energy. Over
the years it has received energy from a diesel power plant on the
neighbouring island of Kos, via an undersea cable, but during the tourist
season this has proven unreliable, leading to frequent power cuts. Since
2015, however, the supply on Tilos has been reinforced with a hybrid
system exclusively powered by renewable sources including solar
power, wind turbines and battery farms.
These images were taken in the island’s capital, Megálo Chorió, which is
home to just 70 people during the winter. At night, the moonlit passages,
rooftops and yards of the city became my playground in which I
documented all types of solar panels and energy devices used by
local households as their main source of energy. As darkness falls ,these
strangely-shaped devices and wires become an organic part of the
scenery, existing in harmony with the dry and mountainous landscape
of Tilos.
Living Light
These images of Lammas Ecovillage and Brithdir Mawr Community serve
as an example of people playing their part to preserve our planet. Their
experience of living off-grid in the wild landscapes of Wales can be used
to show us all how we can protect the environment for ourselves and
future generations.
Living Light shows the everyday atmosphere and tasks experienced
by these people, living off the land communally, creating their own
electricity, growing their own produce and constructing their own living
spaces.
Thanks to Lammas Ecovillage and Brithdir Mawr Community for allowing
me to follow their daily routines, and also those of their friends and
families.
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STUDENT SHORTLIST
Arantza Sánchez Reyes - LCI Monterrey
Mexico
STUDENT SHORTLIST
Ashley Tofa - The University of Auckland
New Zealand
Roots of Cause
Monterrey in Mexico is one of the most polluted cities in Latin America.
Perhaps the biggest problem here is the destruction of the mountain
ranges that fringe the city - the landscape is steadily being swallowed up
by new buildings and homes. As some 70% of Monterrey’s water comes
from the mountains, pollution levels are high. While there have been
few protests against the level of industrialisation in Monterrey, there is
evidence that people want to get back in touch with the land. Some
residents have been caring for common spaces, making their own
compost, walking, recycling, returning to local agriculture, for example.
These might seem like small changes, but they are signs of hope and
awareness. Little by little society is waking up to the importance of
caring for the environment.
Roots of Cause focuses on our individual relationship with the
environment, and how we connect to the earth through our mind, body
and senses.
Ihumātao
Ihumātao is a rare cultural heritage site in Mangere, Auckland, New
Zealand. The area has great significance for mana whenua (local
Māori) as it’s considered a source of identity and wellbeing. In the 1860s,
however, more than 400 acres of land here was confiscated by the
crown. What’s more, in 2014 the site was earmarked for development.
Archaeological sites such as Ihumātao are crucial to our understanding
of our country’s history. For the last few years, the Save Our Unique
Landscapes (SOUL) campaign to #ProtectIhumātao has engaged in
non-violent, direct action to raise awareness and build public support.
SOUL has worked hard to protect and preserve whenua (land).
Initiatives at Ihumātao, such as Kaitiakitanga Day, bring people together
and encourage them to connect with the whenua (land). This, in turn,
will allow them to become more self-sufficient. Through this relationship,
the land will provide.
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STUDENT SHORTLIST
Amy Davis - City Varsity Cape Town
South Africa
STUDENT SHORTLIST
Micaela Del Sol Angulo - Centro de la Imagen
Peru
The Story of Bob
Marine life is dying and our beautiful oceans are suffering. Plastic covers
the earth, polluting land and water. It’s up to us to change the way we
live by replacing plastic with a more sustainable solution. Humans have
caused this mess, but that doesn’t mean we can’t fix it.
The Two Oceans Aquarium in Cape Town, South Africa, runs a turtle
rehab programme where sick turtles, such as Bob, are rescued, nursed
back to health and then released back into the wild. The staff here have
a beautiful understanding of the balance and ecological role turtles
play in the health of oceans. With love and compassion, they have
managed to save many animals.
It’s a sad fact that many of the turtles who arrive sick and injured have
plastic in their systems. When a plastic bag floats in water it looks exactly
like a jellyfish. If I can’t tell the difference, how is Bob supposed to?
Like other marine life, Bob has suffered the negative effects of plastic
pollution. It’s time for us to wake up and face the consequences of our
actions. Let Bob be a source of awe and inspiration, bringing awareness
to the world.
Recycling, the Invisible Friend of the World
Sustainability is a global problem that has been given greater emphasis
since news about the threat to natural resources and rising levels of
pollution hit the headlines worldwide. But environmental NGOs are
not the only ones raising awareness; in recent years countless citizen
protests have taken place in a bid to highlight the threat to the planet,
and the general disinterest shown by many authorities and individuals.
The accumulation and disposal of rubbish, and its negative impact on
our oceans and soil, is a major issue. But amid the garbage, a number
of people search through the waste for objects to recycle as a means
of subsistence. Indirectly, these people are helping to save the planet.
Recycling, the Invisible Friend of the World focuses on these anonymous
heroes who, unknowingly, are helping to mitigate the harmful effects of
our actions.
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STUDENT SHORTLIST
STUDENT SHORTLIST
Reyad Abedin - Counter Foto - A center for Visual Arts
Bangladesh
Tobia Faverio - NABA (Nuova Accademia di Belle Arti)
Italy
Tenendo Innanzi Frutta
Sonali Bag
While plastic has many valuable uses, our addiction to single-use or
disposable plastic has serious environmental consequences. On a
global scale, one million plastic drinking bottles are purchased every
minute, while up to five billion single-use plastic bags are used every
year. In total, half of all plastic produced is designed to be used once
and then thrown away. As countries worldwide try to cut down on
throwaway plastic bags, Bangladesh has come up with an alternative:
jute, a plant fibre commonly used for sacking, burlap and twine.
A few years ago, Bangladeshi scientist Dr. Mubarak Ahmad Khan
invented a biodegradable and eco-friendly bag made of jute cellulose,
which he calls the Sonali Bag. Fittingly, Sonali is the Bengali word for
golden and, locally, jute is known as golden fibre. These bags have
the look and strength of polythene, but are 100% eco-friendly. While a
polythene bag can take up to 200 years to decompose, Sonali Bags,
once disposed of, take just three or four months to break down. The
main chemical components of the bags are jute cellulose (72-75%) and
biodegradable synthetic polymer. The colors used in their design are
food grade.
This project explores human attempts to safeguard biodiversity, focusing
on the work of Umbrian agronomist Isabella Dalla Ragione. The images
were made at San Lorenzo di Lerchi in Umbria, Italy, in and around a
beautiful Romanesque church converted into a convent centuries ago.
Isabella is passionate about peasant culture and seeks ancient varieties
of fruit trees in orchards that have supported peasant families for
centuries. She enriches her knowledge by visiting ancient farms and
vegetable gardens belonging to the convents. The elderly farmers
she meets are witnesses to a way of life that has remained intact for
centuries, but is disappearing due to agro-industry and social-economic
changes.
While studying the archives in the Palazzo Bufalini one afternoon,
Isabella noticed the frescoes on the ceiling. These paintings feature
locally-grown fruits such as Cotagna and Rosona apple. She made
the connection between these and a quote by Giorgio Vasari who,
during the Renaissance period, encouraged his collaborators to paint,
“Tenendo innanzi frutta naturali per ritrarre dal vivo”, (fruit from real life).
As a result of this connection, art becomes a vehicle for research and
another tool to help safeguard biodiversity.
Alongside the research, Isabella carries out practical tasks such as
grafting, pruning and maintaining the orchards. More than 120 varieties
of fruit tree owe their survival to her. As the importance of her work - and
that of her non-profit foundation Archeologia Arborea - becomes clear,
she speaks of her happiness. When a plant recovers and blooms again,
she feels as though it is saying, “Thank you for saving me”.
217
STUDENT SHORTLIST
Robin Ansart - Ecole Nationale Supérieure Louis-Lumière
France
STUDENT SHORTLIST
Fangbin Chen - Qilu University of Technology
Mainland China
In Our Hands
In Our Hands follows the daily routine of various eco-friendly people as
they carry out everyday tasks, with particular emphasis on hands and
their movement. Each image represents a way that we can reduce
our carbon footprint. Together the pictures show how we need to stay
united, and how every single action has the power to impact our future.
Guardians
In December 2019 (just weeks before Chinese New Year) a sudden
outbreak of a severe acute respiratory syndrome shrouded Wuhan, and
quickly spread across China. Just three months later novel coronavirus
(COVID-19) was declared a global pandemic. It’s believed that the
epidemic was caused by the predation of wild animals, which is a stark
reminder that human beings are just a part of nature, equal to all living
creatures - even though we often claim to be wiser and more intelligent.
It’s easy to become arrogant and believe that we can move faster,
travel farther and live longer than other creatures, but we have to be
vigilant in the face of painful disasters. Ultimately, human beings will only
survive and thrive if we revere nature and love the creatures who also
share this world.
These photographs show the people of my hometown fighting the
COVID-19 outbreak. On the front line, doctors, police, workers and
farmers show their love and devotion by protecting other people.
Everyone is doing their bit in the war against this illness: village registrars
manage the Epidemic Prevention and Control forms, temporary
epidemic guards wear disposable gloves, elderly people spray
disinfectant on cars at the entrance to villages and police and epidemic
inspectors can be seen out on the streets. This winter is extremely chilling,
but with faith and love we will get through it.
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Hsien-Pang Hsieh - Age 19
Taiwan Region
YOUTH PHOTOGRAPHER OF THE YEAR
Hurry
This image was taken shortly after I came to Germany to study. It was the
first time I had travelled abroad alone, and I felt under enormous pressure.
There were so many things to learn at school, and I was also trying to fit in
with everyone else.
Although this man looks as though he’s in a rush to get to work, he’s
actually standing still - and it’s this dichotomy that appealed to me. These
days, with life moving at such a frantic pace, it’s important for people to
slow down. When I’m facing challenges I look at this picture and it reminds
me to take a moment and just breathe.
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The National & Regional Awards acknowledges photographers
around the world to help promote local talent to a wider audience.
Chosen from entries to the 2020 Sony World Photography Awards
Open competition, 69 photographers are celebrated. Now in its
eighth year, the National Awards programme has given worldwide
exposure and opportunities to more than 400 photographers.
1 - Karem Apaza Lopez | Peru | 1st Place
2 - Jana Fašungová | Slovakia | 1st Place
3 - Mihaela Coman | Romania | 1st Place
4 - Alessandra Meniconzi | Switzerland | 1st Place
5 - Iraklis Kougemitros | Greece | 1st Place
6 - Bjørn-Arild Schancke | Norway | 1st Place
7 - Jeroen Adema Tryntsje Nauta | Netherlands | 1st Place
8 - Sofia Jern | Finland | 1st Place
9 - Roberto Corinaldesi | Italy | 1st Place
10 - Victor Gui | Singapore | 1st Place
11 - Abbas Alkhamis | Saudi Arabia | 1st Place
12 - Sergey Savenko | Russian Federation | 1st Place
13 - Andrius Aleksandravičius | Lithuania | 1st Place
14 - Abhijeet Kumar Banerjee | India | 1st Place
15 - Arvids Baranovs | Latvia | 1st Place
16 - Liliana Navarrete | Mexico | 1st Place
17 - F. Uyar | Turkey | 1st Place
18 - Tran Tuan | Vietnam | 1st Place
19 - Greg Lecoeur | France | 1st Place
20 - Gabriel Corado | Guatemala | 1st Place
21 - Atanas Chulev | Bulgaria | 1st Place
22 - Jacek Patora | Poland | 1st Place
23 - Matheus Leite | Brazil | 1st Place
24 - Bun Chan | Cambodia | 1st Place
25 - Tien Sang Kok | Malaysia | 1st Place
26 - Gunawan Santoso | Indonesia | 1st Place
27 - Alejandro Cifuentes | Chile | 1st Place
28 - Tonmoy Adhikary | Bangladesh | 1st Place
29 - Liliana Ochoa | Colombia | 1st Place
30 - Riyas Muhammed | UAE | 1st Place
31 - Kristiina Tammik | Estonia | 1st Place
32 - Marcus Westberg | Sweden | 1st Place
33 - Ya-Ting Chung | Taiwan Region | 1st Place
34 - Kozjak Boris | Croatia | 1st Place
35 - Jan Simon | Czech Republic | 1st Place
36 - Esteban Montero | Ecuador | 1st Place
37 - Kiatthaworn Khorthawornwong | Thailand | 1st Place
38 - Steven Meert | Belgium | 1st Place
39 - Hong Chen | Hong Kong SAR | 1st Place
40 - Kyaw Bo Bo Han | Myanmar | 1st Place
41 - Matthias Pall | Austria | 1st Place
42 - Jelena Jankovic | Serbia | 1st Place
43 - Chen Qiyi | Mainland China | 3rd Place
44 - Wolfgang Wiesen | Germany | 1st Place
45 - Yung-sen Wu | Taiwan Region | 2nd Place
46 - Hwanhee Kim | Republic of Korea | 2nd Place
47 - Will Venter | South Africa | 1st Place
48 - Kushal Shahi | Nepal | 1st Place
49 - Isao Tabayashi | Japan | 3rd Place
50 - Abdulla AL-Mushaifri | Qatar | 1st Place
51 - Lakshitha Karunarathna | Sri Lanka | 1st Place
52 - Sutie Yang | Mainland China | 2nd Place
53 - Ales Krivec | Slovenia | 1st Place
54 - Adil Javed | Pakistan | 1st Place
55 - Youngchul Kim | Republic of Korea | 1st Place
56 - Hanako Kimura | Japan | 2nd Place
57 - Ildiko Ratkai | Hungary | 1st Place
58 - Agostina Valle Saggio | Argentina | 1st Place
59 - North Gevero | Philippines | 1st Place
60 - Adam Stevenson | Australia | 1st Place
61 - Chih Ning Tsai | Taiwan Region | 3rd Place
62 - Tianhu Yuan | Mainland China | 1st Place
63 - Kam Moon Lai | Hong Kong SAR | 2nd Place
64 - Young Lee | Republic of Korea | 3rd Place
65 - Jose Luis Ruiz Jimenez | Spain | 1st Place
66 - Ka Lok Kwok | Hong Kong SAR | 3rd Place
67 - Inger Rønnenfelt | Denmark | 1st Place
68 - Antonio Bernardino Coelho | Portugal | 1st Place
69 - Tooru Iljima | Japan| 1st Place
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PROFESSIONAL JUDGES
Mike Trow (Chair)
Claudi Carreras Guillén
Touria El Glaoui
Katie Hollander
Gwen Lee
Brent Lewis
OPEN AND YOUTH JUDGE
Gisela Kayser
STUDENT JUDGE
Tim Clark
SONY
Yosuke Aoki
Michiko Sekikawa
Katsuya Watanabe
Yann Salmon-Legagneur
David Edwards
Agnieszka Brzezinska
Yoshiyuki Nogami
Angelo Marconi
Lipton Lee
Ben Pilling
Matt Parnell
PARTNERS
Somerset House
Dorsett Hospitality International (DHI)
EXHIBITION CURATOR
Mike Trow
WORLD PHOTOGRAPHY ORGANISATION
BOARD MEMBERS
Sandy Angus
Damion Angus
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