June 3rd, 2014

PDN Photo Annual Judges on Images They Wish Had Been Winners

Judging a photo contest is hard work. So why do creative directors, art producers, gallery directors and photo editors to do it? One benefit is that they get to see fresh imagery—lots more imagery than just the final winners. To win a juried competition like the PDN Photo Annual, an entry has to garner high scores from multiple jurors. But sometimes work that one or two judges love doesn’t score high enough with other jurors to place among the finalists.

We gave some jurors of the PDN Photo Annual the opportunity to talk about one entry that they particularly liked and remembered, but didn’t make it into the Annual. Here are their choices:

© Antonio Gonzalez Caro

© Antonio Gonzalez Caro

Myles Little, associate photo editor, TIME:
I choose Antonio Gonzalez Caro’s project about fishermen. His is a highly personal vision of a subject I’ve seen covered a lot, often in more conventional ways. Without romanticizing this hard life, Caro draws the viewer into a place of dark beauty. The images of the man bellowing, and of the hand near the school of fish, make me feel like I’m peering into an old fisherman’s dream.

© Adam Voorhes

© Adam Voorhes

Darhil Crooks, creative director, The Atlantic:
I pick “Dangerous Candy” by Adam Voorhes. There is so much I love about this image. The sharpness of the lighting and shadows is beautifully done and the background color gives the image a happy vibe. You don’t even notice the packs of nicotine-laced “Camel Strips” at first. But what I admire the most about this shot is the precision. The angles are perfect, the distribution of the M&Ms and the tear of the wrapper were clearly thought out and styled. It’s not only a brilliant idea, but the execution is brilliant as well.

© Moms Demand Action/photo by Eden Robbins

© Moms Demand Action/photo by Eden Robbins

Raquel Duarte, senior print producer, LLOYD & CO:
Eden Robbins did a phenomenal job with the “Mom’s Demand Action” campaign. I gave him a 5 rating but unfortunately he did not win the PDN annual contest recognition that I find he deserved. It’s a simple campaign that is extremely powerful. The content is what got me immediately. It is clever, raw, based on statistics, fueled by truth. Given all the political controversy around guns and weapons and the unfortunate turns of events we have had in the recent years, it is repulsive that our government has “their hands tied” to take any action and vetoed any proactive measures that could been taken to prevent the harming of any further innocent lives… [t]he children who will grow to be our future.

On a creative note, the casting is remarkable. The mix of ethnicity, gender, facial expressions, are well represented. The unfocused and monochromatic backgrounds are perfect, simply there adding mood and atmosphere, but yet very specifically detailed. The objects the children are holding are nostalgic, relatable, reminding me of the joy and fun I had growing up, followed by an uncomfortable feeling that shatters my happy memories, because those items are banned, while guns are not.

Grey’s creative direction was brilliant. Eden’s execution was ingenious.

© Andrew Goeser

© Andrew Goeser

Brian Paul Clamp, owner and director, Clampart Gallery:
Who has not been curious about “Missed Connections” on Craigslist? Andrew Goeser’s student project endeavors to see the real people behind the ads. Contacting those individuals who place these ads, the artist shot them at the site of the “missed connection” and then paired the photograph with the original post. I find the concept of the project compelling, and the hypothetical relationships at turns funny, romantic, poignant, and sometimes even pathetic. I can imagine this series expanded and presented/published as a book.

Related:
PDN Photo Annual 2014

October 10th, 2011

Yuri Kozyrev Wins 2 Prix Bayeux-Calvados Awards for Libya Coverage

© Yuri Kozyrev/Noor for Time. Above: A rebel prays on the battlefield,

Photographer Yuri Kozyrev, who covered the conflict in Libya for Time magazine,  won the Photo Trophy and the Public Prize for photography at the Priz Bayeux-Calvados des Correspondents de Guerre, a four-day festival devoted to war reporting, which takes place in Bayeux, France. The Photo Trophy, sponsored by Nikon, comes with a 7,000 Euro prize; the Public Prize, sponsored by the town of Bayeux, includes a 3,000 Euro prize.

Other awards given at the Prix Bayeux-Calvados, which took place October 5-8, including awards for radio, television, Web and print journalists. More than 40 jurors judged the competition, including photographers Jerome Delay, Karim Ben Khelifa, Laurent Van Der Stokt, Wilfrid Esteve,  agent Robert Pledge of Contact Press Images.

Kozyrev, a member of Noor Images, covered the escalating conflict between rebels opposed to Libyan leader Muammar Qaddafy and the Libyan army for Time in February and March, and again in August as rebels closed in on the country’s capital, Tripoli.  He has also photographed in Yemen, Egypt and Bahrain since the start of the Arab spring. In September, Kozyrev was awarded the Visa D’Or prize for news photography at the Visa Pour L’Image festival in Perpignan, France.

March 18th, 2011

PDN Video Pick: Eugene Richards Interview on Time’s New Photo Blog

This week, Time magazine unveiled its new photo blog, Lightbox. Edited by the magazine’s photo editors,  Lightbox highlights work by Time photographers, showcases  unseen wire images and gallery shows, and profiles photographers. In a video interview with Lightbox, documentary photographer Eugene Richards talks about the subjects of his award-winning book, War Is Personal, about 15 people whose lives are forever changed by the Iraq War.

During the interview, Richards discusses what is probably the most widely seen and startling image in the book, a photo of Nelida Bagley, 54, hoisting her son, Jose, from his hospital bed. Jose lost 40 percent of his brain when a grenade exploded in his Humvee while on tour of duty in Iraq. Richards says he was impressed by Nelida’s strength and ability to lift her tall son “as if he were a baby.”  In the photo, taken from behind Jose, his indented cranium is clearly visible, as is Nelida’s face as she hugs her arms around her son’s torso.  “I was trying hard not to make the injury appalling,” says Richards. But he notes that when most people see the photo, “They don’t necessarily see Nellie.”