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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10

Outstanding Contribution to Photography

164

Open Photographer of the Year

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Judges

206

Student Photographer of the Year & Shortlist

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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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51

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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55

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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59

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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73

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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77

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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87

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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109

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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117

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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121

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


RIGHT: Bacar portrayed on 18th June 2018 in Italy,


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Abdul. Sierra Leone (1998).

LEFT: Abdul portrayed on 1st August 2016 on board


RIGHT: Abdul portrayed on 24th June 2018 in Italy,


Oumar. Guinea Conakry (1999).

LEFT: Oumar portrayed on 1st August 2016 on board


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


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


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


RIGHT: Alpha portrayed on 8th February 2019 in Italy,


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Malick. Gambia (1998)

LEFT: Malick portrayed on 1st August 2016 on board


RIGHT: Malick portrayed on 26th June 2019 in Italy,


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.

131

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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137

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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143

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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147

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

171

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.

211

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.

213

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.

215

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.

219

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.

221

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

235

Sony World Photography Awards 2020 Book

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