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April 29th, 2013

4 Photo Contests With Approaching Deadlines—and Prizes Up to $10,000

Last month we wrote about some upcoming deadlines for major photography grants. Below are four photo contests that have deadlines fast approaching.

Newspace Center for Photography 2013 Juried Exhibition
The Newspace Center for Photography in Portland, Oregon, is hosting a contest in which the winners will be part of its 2013 Juried Exhibition. Additionally, one photographer will be selected from all of the entries for a solo exhibit at the Newspace in 2014. Deadline: April 30, 2013.
www.newspacephoto.org/gallery/call-for-entries

Image13
The American Society of Media Photographers’ New York chapter is one of the co-sponsors for the Image13 international photo contest. First, second and third place prizes will be awarded in two categories: Professional and Student. Prizes include inclusion in a New York City exhibition, a promotional e-mail sent to industry professionals and an ad in PDN announcing the names of winners. Only images created after January 1, 2012, will be eligible for the contest. Deadline: May 1, 2013.
www.asmp.org/image13/

Dorothea Lange-Paul Taylor Prize
The Center for Documentary Studies at Duke University relaunched the Dorothea Lange-Paul Taylor Prize this year, with updated guidelines that reflect the changing approaches to documentary projects. The new guidelines include accepting audio files or graphic novels in the written section of the submission; artists need to have already started the documentary project to be eligible; and photographers no longer need to work with a writer to qualify, as solo submissions are now accepted. According to the award’s online FAQ section, “All entries must have one thing in common: evidence that they were created with reliance on documentary methods—research and interviews—and immersive, long-term fieldwork.” The winner will receive $10,000 and an exhibition at the Center for Documentary Studies. Deadline: May 7, 2013.
www.documentarystudies.duke.edu/awards/dorothea-lange-paul-taylor-prize

Daylight Photo Awards
Non-profit book and magazine publisher Daylight is sponsoring the Daylight Photo Awards 2013. According to the contest’s guidelines, jurors are looking for analogue or digital images that “demonstrate the ability to build a strong series of images and a cohesive body of work.” Prizes include $1,000, an exhibition at the Daylight Project Space and a set of Daylight books. Deadline: May 15, 2013.
www.daylightphotoawards.com

April 24th, 2013

Fabio Bucciarelli Wins Robert Capa Gold Medal Award

©Fabio Bucciarelli

©Fabio Bucciarelli

Fabio Bucciarelli, who has covered the civil war in Syria for Agence France-Presse, has won the Robert Capa Gold Medal Award, the Overseas Press Club (OPC) has announced. Bucciarelli won the award for a portfolio of images titled “Battle to Death,” showing Free Syrian Army soldiers battling intensely against government forces in the streets of Aleppo.

In announcing the award, OPC said, “The images from this portfolio put you ‘in the moment’ and have a palatable sense of urgency. There is a consistency to the images that helps the viewer identify with the subjects and the perils they are encountering.”

The award, given annually by the OPC, recognizes photographers who have shown exceptional enterprise and courage while covering world news events.

In other OPC award categories, freelance photographer Samuel James won the Olivier Rebbot Award for  best photographic reporting from abroad in magazines and books. James won for “The Water of My Land,” a story about oil production and its consequence in the Niger Delta. The story was published in Harper’s magazine.

Bernat Armangue of The Associated Press won the OPC’s John Faber Award for feature photography. Armangue won for his portfolio of images about the conflict in Gaza.

Oded Balilty, also of The Associated Press, also won a feature photography award for his story about an ultra-orthodox wedding near Tel Aviv.

An awards ceremony will be held tonight in New York City. A complete list of award recipients is available on the OPC Web site.

April 24th, 2013

Sangosti, Weatherwax Win BOP Photojournalist of the Year Honors

RJ Sangosti of The Denver Post and David Weatherwax of The Herald in Jasper, Indiana were named Photojournalists of the Year in the Best of Photojournalism (BOP) competition, the National Press Photographers Association (NPPA) has announced.

There are two winners because NPPA recognizes a winner for both larger and smaller markets. Sangosti won in the larger market division. Runners up were Damon Winter and Tyler Hicks, both of The New York Times.

Weatherwax won the Photojournalist of the Year title for the smaller market division for the second year in a row. (The Herald has a circulation of 11,300). Runners up this year were Tom Kelly IV (Daily Local News, Westchester, PA) and Gerry Melendez (The State, Columbia, South Carolina).

Patrick Smith, a freelancer for Getty Images, won the Sports Photojournalist of the Year title. Runners-up were Quinn Rooney (Getty Images) and Bill Frakes (Sports Illustrated).

Aaron Huey, shooting for National Geographic Magazine, is the winner of Cliff Edom’s “New America Award” for his photographic essay, “In The Shadow Of Wounded Knee.”

In the competition’s editing division, Mark Edelson of The Palm Beach Post won Newspaper Picture Editor of the Year, and Jamie Wellford of Newsweek was named Magazine Picture Editor of the Year.

Judges for the BOP still photo competition were photographers Amy Sancetta of the Associated Press and Jack Gruber of USA Today; and Boyzell Hosey, the director of photography and multimedia for the St. Petersburg Times. More details about the still photo competition are posted on the NPPA site at this link.

Judges for the BOP photo editing awards were picture editor Molly Roberts of Smithsonian magazine, photographer Matt Moyer, and Bert Fox, photography director of The Charlotte Observer. More information about the photo editing awards are posted on the NPPA site at this link.

Related:
Paolo Pellegrin Named POYi Freelance Photographer of the Year
Paul Hansen Wins POYi Newspaper Photographer of the Year

April 3rd, 2013

2013 Grants and Awards Announced by CENTER

"Son magnifique champ de fleurs," from "Gaijin," © David Favrod. Courtesy CENTER.

“Son magnifique champ de fleurs,” from “Gaijin,” © David Favrod. Courtesy CENTER.

CENTER, the Santa Fe nonprofit whose mission is to aid photographers and promote their work, has announced the winners of two grants and a series of awards.

The Project Launch Grant, which aids a photographer in completing and disseminating a fine-art or documentary project and carries an award of $10,000, was given to David Favrod for his series “Gaijin.” The work explores the displacement Favrod experiences as a result of feeling he belongs neither where he grew up, in Switzerland, nor where he was born, in Japan. The grant was judged by Library of Congress Curator Verna Curtis, COLORS Magazine Photo Editor Mauro Bedoni, and Pier 24 exhibition space Director Christopher McCall.

The Project Development Grant, which supports a photographer’s work-in-progress with an award of $5,000, went to Ignacio Evangelista for his project “After Schengen,” a series of landscapes of disused border checkpoints in Europe. The grant was judged by Denise Wolff, Aperture books program senior editor.

CENTER received more than 1000 entries for the grants from photographers around the world, the organization said in a statement.

CENTER’s Choice Awards give a curator, editor and gallerist an opportunity to recognize the work of photographers with exhibition, publication and portfolio review opportunities, among other prizes. (The winners of the two grants mentioned above are also offered exhibition, publication and portfolio review opportunities.)

For the Curator’s Choice Award, curator Tina Schelhorn of the Kolga Tblisi Photo organization recognized Marc Asnin for his long-term project about his drug-addicted uncle. For the Editor’s Choice Award, Vanity Fair Photography Director Susan White recognized Jennifer McClure for her series about her personal struggle for meaning. For the Gallerist’s Award, Pace/McGill Gallery Director Lauren Panzo recognized Bryan Schutmaat for his documentary series on old mining towns in the American West.

The winning work was selected from submissions that totaled 6,000 images, and which came from 43 countries, CENTER said.

For galleries of work by the winners and runners up visit the CENTER site here.

March 26th, 2013

Short Poverty Film Wins Top Multimedia Prize at BOP Competition

Photographer and director Alan Spearman of the Memphis Commercial Appeal has won the Best Use of Multimedia prize at the NPPA Best of Photojournalism contest, judges announced yesterday.

Spearman won the prize for his short film called As I Am, a rich, poetic film about the hard edges of poverty, from the viewpoint of an insider struggling to pull himself out. Spearman entered the film in the NPPA contest under the title, “Memphis Poverty: What Obama Didn’t See.”

The subject of the film, Christopher Dean, had a moment in the YouTube spotlight in 2011 for his charming introduction of Barack Obama at a high school graduation, where Obama spoke.  Community leaders in Memphis rallied around Dean afterwards to help him pay for college. During the summer of 2012, Dean was an intern at the Memphis Commercial Appeal, where he worked with Spearman on the “As I Am” film.

“Memphis Poverty masterfully tells an important American story in a non-traditional way, bypassing the literal translation of poverty to strike the soul,” Best of Photojournalism jurors said in an announcement posted on the NPPA web site. “The artful blend of documentary moments, poetry, music, cinematic shooting and editing craftsmanship moves our art of storytelling forward in a dramatic way.”

The jury, which included Nancy Andrews, Zach Wise, and Jonathan Quilter, gave special recognition to “Dying for Relief,” a multimedia story about the overuse and abuse of prescription drugs, produced by Liz O. Baylen of the Los Angeles Times.

Spearman also won the first place prize in the Feature Multimedia category for the “As I Am” project. First place winners in other BOP multimedia categories included Albert Lee of the Los Angeles Times, who won both the Multimedia Package category and Visual Column/Recurring Series category for his photo and video blog called Framework; MediaStorm in the Documentary Multimedia story category for “A Shadow Remains” (an extension of Philip Toledano’s “Days with My Father” project); Chris Zuppa of the Tampa Bay Times in the New Multimedia/48 Hours category for  “RNC 2012, Inside and Out;” Misha Domozhilov for “Motoball Monsters” in the Sports Multimedia Story category;  and Reuters for “The Wider Image” in the Tablet/Mobile Delivery Project category.

Related:
Picture Story: A Guided Tour of Poverty in Memphis (PDN subscription required)

March 1st, 2013

Abir Abdullah, Sara Naomi Lewkowicz Win 2013 Alexia Foundation Grants

Workers line up unclaimed bodies of victims of on accidental fire in a mass funeral at a grave at Jurain in Dhaka, Bangladesh. ©Abir Abdullah

Workers line up unclaimed bodies of victims of on accidental fire in a mass funeral at a grave at Jurain in Dhaka, Bangladesh. ©Abir Abdullah

Abir Abdullah of Bangladesh has won the $15,000 professional award in the Alexia Foundation grant competition, organizers announced this morning.

Sara Naomi Lewkowicz won the Alexia Foundation Student Grant, which includes a full-tuition scholarship to study photojournalism at the Syracuse University London Program in Fall, 2013, plus a $1,000 grant.

Click here to read the full story.

 

February 27th, 2013

POYi Punts on Pellegrin Controversy

©Paolo Pellegrin

©Paolo Pellegrin

Pictures of the Year International organizers have finally weighed in on the controversy surrounding Paolo Pellegrin’s prize-winning contest entry. And they dodged the issue that is central to the debate: the legitimacy of one particular documentary-like image of a subject posing with a gun in a parking garage–at Pellegrin’s request. (The subject told PDN that the image “put him in a bad light.”)

Instead, POYi addresses only the less complicated issues about the sloppiness of Pellegrin’s captions for the story.

POYi’s statement about entry, posted in the POYi Winners Gallery below Pellegrin’s story, reads as follows:

“The spirit of Pictures of the Year International is to honor photojournalists and celebrate their outstanding documentary photography. We do not probe for reasons to disqualify work. POY understands that errors may occur in captions submitted by photographers. We are happy to make corrections and acknowledge the errors. Story summaries and captions are ‘published’ when posted on the POY website. Any misunderstanding regarding self-authorship for ‘published’ captions or story summaries will be corrected by the photographer. POY affirms the awards.”

That response to the controversy is even more tepid than that of the organizers of World Press Photo, which at least addressed the guy-with-gun image directly when they issued their statement about it yesterday:

“The jury is of the opinion that although a more complete and accurate introduction and captions should have been made available by the photographer, the jury was not fundamentally mislead by the picture in the story or the caption that was included with it.”

Asked what safeguards they have in place to vet winning entries for manipulation, World Press Photo told PDN today that they reserve the right “to ask for raw files or untoned scans and consult an external photo expert to advise on possible manipulation. This analysis focuses only on technical facts.”

Rick Shaw, director of POYi, did not immediately respond to PDN’s request for an interview about the POYi statement.

But what the POYi and WPP statements about the Pellegrin entry suggest is that the photo contests are equipped by their rules to deal perfectly well with black and white issues, and less well-equipped to deal with any ethical gray areas.

It is, after all, easier to come up with guidelines about technical questions of how much image manipulation is too much, than it is to make rules about what kinds of actions on the part of a photographer might be misleading or damaging to the subject.

But until the contests are willing to take on such ethical gray areas when they arise, they’re leaving photographers a lot of room to “make things happen,” as long as it doesn’t happen in Photoshop, and as long as the captions pass a basic smell test.

Related:
World Press Hits Pellegrin with Wet Noodle (And Other Contest Scandals)

Paolo Pellegrin and His Subject at Odds Over Photograph

February 26th, 2013

World Press Hits Pellegrin with Wet Noodle (And Other Contest Scandals)

Last week, debate erupted over an image Paolo Pellegrin had entered as part of a portfolio that won prizes at both the World Press Photo and Pictures of the Year International competitions. He had apparently cribbed his captions from the New York Times, misidentified the subject of the photo in question, and while he didn’t exactly set up the photo–he arguably created what appears to be a documentary photograph of a tough guy brandishing a gun in a bad neighborhood.

As BagNews Notes first reported, Pellegrin had asked the subject, a college student and the friend of his fixer, to pose for portraits at a local shooting range. The subject, Shane Keller, told PDN Pulse that as he walked to his car with the gun, Pellegrin took advantage of the harsh light in the gritty-looking parking garage to make a picture for a larger story about the underside of Rochester, New York.

Today, World Press photo organizers issued a statement that said, “The jury is of the opinion that although a more complete and accurate introduction and captions should have been made available by the photographer, the jury was not fundamentally mislead by the picture in the story or the caption that was included with it.”

Officially, POYi has so far remained silent about the image, although one juror told PDN last week that he was “satisfied by Paolo Pellegrin’s explanation” about the image.

The big photojournalism competitions are supposed to be about celebrating great work and top talent, but this year’s contests have been overshadowed somewhat by charges of manipulation and the ensuing debate over what crosses ethical lines.

What ends up getting disqualified, and what ends up doing real harm, are arguably not always the same thing.

The White House News Photographer’s Association just rescinded Washington Post photographer Tracy Woodward’s Award of Excellence in the Sports Feature/Reaction category of The Eyes of History competition. WHNPA said it rescinded the award because “digital manipulation that was in violation of the contest rules.” Woodward had cleaned up background distractions in the image, which showed a high school wrestler celebrating after a match victory. NPPA reported the incident in detail on its Web site yesterday.

Meanwhile, debate about the Pellegrin image continues to simmer. Photojournalist Kenneth Jarecke posted a sharp critique of Pellegrin’s actions yesterday. “This controversy is no longer about poor, misleading or ‘lifted’ captions,” Jarecke wrote. “This is now about a self-proclaimed ‘documentary’ photographer who manipulates people and uses them as props to illustrate a story narrative he’s made up in his head. I thought these issues had been worked out by now. You don’t use people for props. You don’t manipulate them into doing things they aren’t doing and you don’t ask them to pose for you and then pretend it’s a situation that you’ve happened upon.”

Anticipating an onslaught by Pellegrin’s many defenders, Jarecke concludes his post: “Sling your rocks and arrows below. Please don’t hesitate to remind me that I’m old and outdated, and thus have no idea what I’m talking about.”

There was also some controversy early last week about the World Press Photo of the Year winner, an image showing  a parade of mourners carrying the dead bodies of two children in Gaza. The image was shot by Paul Hansen of the Swedish daily newspaper Dagens Nyheter. Some critics took him to task for the dark toning he applied to the image before he entered it in the World Press Photo competition. The version originally published by Dagens Nyheter had lighter tone and slightly different cropping.

WPP photo jury chair Santiago Lyon told Jim Estrin of The New York Times Lens Blog that the jury had examined the image for post processing and decided that Hansen’s photo was “within the acceptable industry parameters.” He added: “Everybody has different standards about these sorts of things, but as a group we felt that it was O.K.”

That didn’t stop the hand wringing, but at the time, it was all that armchair ethicists had to work with. Through the lens of the more recent controversy, what Hansen did now seems quaint and, if not forgiven, at least forgotten.

February 25th, 2013

POYi Update: The New York Times and The Denver Post Excel

©The Denver Post

©The Denver Post

The New York Times and The Denver Post have both won two top prizes so far in the Multimedia Division of the Pictures of the Year International competition. Multimedia judging began on Friday. It is the final division for the competition, which ends tomorrow.

The New York Times won first prize in both the News Multimedia Story and the Feature Multimedia categories. The winning news multimedia entry, about Syrian rebel fighters, was shot by freelance video journalist Ben Solomon. The feature multimedia entry, about a couple’s struggle with the husband’s dementia, was part of the paper’s series called The Vanishing Mind, and included photographs by freelancer Béatrice de Géa.

Last week, the Times won top prize in for Best Newspaper, a POYi Editing Division category. Runners up for Best Newspaper were The Los Angeles Times and The Washington Post, respectively.

The Denver Post, meanwhile, won the MacDougall Overall Excellence in Editing Award (also part of the Editing Division categories judged last week), as well as first prize in the Issue Reporting Multimedia Story and Sports Multimedia Story categories.

The issue reporting prize was for a project by Mahala Gaylord, Joe Amon, Meghan Lyden, and Tim Rasmussen about two heroin addicts struggling to get by on the streets of Denver. (Still photos from the project also won second prize in the Issue Reporting Picture Story category during the first week of the competition.)

The paper won the Sports Multimedia Story prize for a  project by Mahala Gaylord titled “Trey’s Team,” about a high school football player’s recovery from a head injury.

In the Campaign 2012 Multimedia Story category, Jason Reed and Larry Downing of Reuters won first prize for their story titled “Chasing Obama.”

Among other POYi prize winners in recent days was National Geographic, which won first place for Best Magazine, a POYi Editing Division category.  Runners up for the prize were New York magazine and GEOthema, which took second and third prize, respectively.

TIME magazine won first prize in the Editing Portfolio–Magazine category for its Person of the Year feature about Barack Obama, photographed by Nadav Kander.

POYi Jurors will weigh Documentary Project of the Year entries today. The POYi judging ends tomorrow with the selection of winners in Best eBook & eProject, Best Website, and Multimedia Photographer of the Year categories.

February 20th, 2013

David Alan Harvey Wins POYi’s Best Photo Book Prize

From (Based on a True Story) ©David Alan Harvey

From (based on a true story) ©David Alan Harvey

Magnum photographer David Alan Harvey has won Best Photography Book honors in the 2013 POYi competition.

Harvey won for “(based on a true story),” an experimental book comprising a collection of images–part true, and part fictional–of a journey through Rio that “explode with color, heat, humidity, sex, more sex, danger, fear, chaos, more chaos,” according to the Burn magazine Web site.

Finalists included six other books–”Brooklyn Buzz,” by Alessandro Cosmelli & Gaia Light; “England Uncensored,” by Peter Dench; “The Invisible City,” by Irene Kung, Ludovico Pratesi, and Francine Prose; “The Wrong Side: Living on the Mexican Border,” by Jerome Sessini; “In the Car with R,” by Rafal Milach & Huldar Breidfjord; and “Violentology: A Manual of the Columbian Conflict,” by Stephen Ferry.

The jurors also gave special recognition to Marc Asnin for his book, “Uncle Charlie,” and to “Bosnia: 1992-1995,” edited by Jon Jones.

POYi jurors have been selecting winners in Editing Division categories over the last several days. Winners so far include the Memphis Commercial Appeal, which took first place in the News & Issue Story Editing category for “What Obama Didn’t See.” The story is the print version of a multimedia project titled “As I Am” by Alan Spearman, which was featured in the January 2013 issue of PDN.)

National Geographic magazine won first place in the News & Issue Story Editing–Magazine category for “Nile Journey,” a story about Egypt photographed by Alex Majoli that ran in the magazine’s May 2012 issue under the title “Egypt in the Moment.”

The Washington Post won Feature Story Editing–Newspaper for “A Siberian Pictorial,” featuring images by Sebastião Salgado.

Related:
Notable Books of 2012: Part 1 (includes a review of (Based on a True Story) by David Alan Harvey)
Picture Story: A Guided Tour of Poverty in Memphis (about Alan Spearman’s “As I Am” project)
Paolo Pellegrin Named POYi Freelance Photographer of the Year
Paul Hansen of Dagens Nyheter Wins POYi Newspaper Photographer of the Year