Ben Mendelsohn plays a detective on HBO's The Outsider. Ken Tucker reviews Bryan Ferry's new concert album. Axios reporter Jonathan Swan talks about Trump's move to oust those he considers disloyal.
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Will Arnett just finished his sixth and final season playing the lead horse in an animated Netflix series about a former sitcom star struggling with depression.
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NPR's Scott Simon speaks with Raenell Dawn, co-founder of the Honor Society of Leap Year Day Babies, about the pros and cons of having a birthday on Feb. 29.
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The National Book Award-winning author has a new novel called Deacon King Kong. It's set in a Brooklyn housing project in 1969. "Time and place is really crucial to good storytelling," he says.
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Erdrich's new novel, set in the 1950s, follows a Native American tribe fighting for their rights as the U.S. Congress prepares to terminate their nation-to-nation treaties and land ownership rights.
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Nino Cipri's magical multiworld adventure is set in a Swedish big box furniture store — no, not that one — where the showroom floor is prone to interdimensional wormholes that swallow shoppers.
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“I’m from a small town in northern Finland, surrounded by a vast, sparsely populated wilderness. Most pass through the town on their way to some place else… They never know of its strange and colourful history.”
Maria Lax is a Finnish-born, London-based photographer and a winner of Female in Focus 2019 (Single Image category). In the last year, Lax has signed with Stem Agency and published her first photobook, Some Kind of Heavenly Fire, with Setanta Books. Boasting a growing Instagram following of nearly 60,000 — not to mention commissions from the likes of Vice, Panasonic and Nicholas Kirkwood — Lax has quickly carved her place as one to watch on the photography scene.
“British Journal of Photography was the very first publication I started following when I started photography,” Lax says. “I’ve been entering all the contests for a couple of years now, and Female in Focus was a no brainer. Winning definitely helped garner attention.”
As well as Finland, Lax spent stints of her youth in the US and Switzerland, becoming fluent in three languages by the time she was six. “Although brief,” she reflects, “these experiences left me quite restless later on in my life, and somewhat always looking for a place I could call home.” Lax’s debut book, Some Kind of Heavenly Fire, was born when she uncovered her grandfather’s chronicling of a series of UFO sightings in her native neighbourhood in the 1960s. A delicate and dynamic amalgamation of photography, family archive and newspaper cuttings, Some Kind of Heavenly Fire became a process of grappling with the history of a ‘home’ town that — to Lax — was never wholly that.
“It wasn’t until I read my grandfather’s book that I learned of the incredible stories of supernatural events, bravery and struggle against hardship in what is largely a barren land,” remarks Lax. The post-war period sparked a painful moment in Northern Finland’s history, when industrialisation and overproduction in agriculture meant rural communities could no longer support themselves through farming. “A whole lifestyle disappeared in a matter of a few years,” she says. Nearly half the population was forced to move to cities in search of work — a fatal blow to northern Finland’s identity — while those that remained were plunged into a period of fear and uncertainty. The area never recovered.
Known for her arresting use of colour and seamless blending of reality and fantasy, Lax cites everything from Tove Jansson and Henri Rousseau to E.T. and Jurassic Park as influences on her work (“I must have seen it 50 times,” she tells us of the latter). Her background in cinematography palpably informs her practice, searing through in her signature experimentation with lighting and camera techniques. Incidentally, Some Kind of Heavenly Fire was originally conceived as a film: the photos were intended merely as a way of storyboarding, but photography lit a fire in Lax, and soon became her preferred method of storytelling. The distinctly cinematic element to her work, however, was never lost.
Lax chose a film editor to design the book, and together they approached it like cutting a film. The end product is unsettling, yet magical; alien, yet nostalgic. “With northern Finland’s lack of sunlight for a large part of the year, it’s impossible to escape the darkness,” says Lax. “It’s almost like the nighttime gives you freedom to explore the sides of mundane things to which you rarely pay attention in the daylight. It has its own rules.”
Growing up, Lax recalls the myriad of ghost stories and folktales relayed to her by grandparents on both sides. “Coming from an area surrounded by a wilderness, I think people are more in tune with nature,” she says. “They tend to be more spiritual.” As founder of the local newspaper, Lax’s grandfather had followed the supernatural phenomenon as it unravelled, from beginning to end. But by the time Lax found his book, he was already suffering from dementia — so she had to go looking for answers herself. “Everything in my family’s history is entwined in this narrative,” she says. “But I had been away for years, and I became an adult during that time. I had changed, and the place I had grown up in had changed.” As such, Lax was both connected to the events and an outsider, straddling a blurred line between familiar and foreign.
“In a lot of ways,” Lax muses, “I am one of the aliens in the book. By doing the project, talking to people, reading my grandfather’s book, searching through family albums and walking around the landscapes, I got to know my past, my family and my family history so much better. In a lot of ways, it was a healing process.”
If you’re a woman-identifying or non-binary photographer, apply to Female in Focus today. You could win a group exhibition in New York — and even get flown there for the opening.
Mohamed Bourouissa has been working among the marginalised and economically disenfranchised for 15 years, employing photography, video, sculpture and technology to push the boundaries of traditional documentary practices. His work is celebrated for its unconventional engagement with complex structural issues; repurposing polaroid photographs of people caught shoplifting, for example, or presenting conversations via text message with his friend in prison to scrutinise the structural meanings of what it means to be free.
The Algerian-born, Paris-based artist’s retrospective at last year’s Les Rencontres d’Arles, exhibited in the Monoprix supermarket, was one of the most talked-about shows of the festival. Now, it is nominated for the prestigious Deutsche Börse Photography Foundation Prize, and recreated in a smaller scale exhibition at The Photographers’ Gallery, London, alongside work by fellow nominees Clare Strand, Mark Neville, and Anton Kusters.
Nous Sommes Halles (2002-2003). In collaboration with Anoushkashoot
The video work that forms the centerpiece to Bourouissa’s installation, Temps Mort (2009) displays a more intimate form of collaboration. Employing images and footage taken on mobile phones, it presents communication between Bourouissa and his friend, who was in prison at the time. “We’re trying to explain what it means to be on the outside, or on the inside — free or in jail,” Bourouissa explains. “It was important to me that the video was in the middle, because it’s a representation of the way I work.”
One of the more unconventional series in the exhibition is Shoplifters, which presents Polaroid images that were found in a shop in New York. The shop owner explained to Bourouissa that when he catches someone stealing, he allows them to take the products free of charge, provided they pose for a photograph. For Bourouissa, these images were hugely representative of the mechanisms of power within photography.
The final work is an augmented reality piece, titled Army of the Unemployed. Through the use of a mobile app visitors will see 3D renderings of faceless humanoids, which represent this idea that when you are unemployed, “you start to become a ghost in society’s system”.
Over his 15 year career, Bourouissa has continuously probed socio-economic structures and the tension between marginalised communities and their historical representation. “There is a complexity where you can be within a society, but it is not so easy to integrate,” says Bourouissa, who has been witness to some of these challenges, faced by his friends and family. “Photography is a way for me to leave a mark of my generation.”
A day after Microsoft preannounced lower revenues due to the coronavirus impact, Dell Technologies sidestepped the same question.
Dell said its fiscal 2021 guidance of between $91.8 billion to $94.8 billion in revenue does not include any impact from the coronavirus (COVID-19) at all, though executives did say they expect first-quarter revenues to be “negatively impacted,” especially in China. (Dell reported fiscal 2020 revenues of $92.2 billion. The company’s 2020 fiscal year ended on January 31, 2020.)
Dell
Dell's guidance for fiscal 2021 and its risk factors, including the CPU shortages and coronavirus risks.
Last year, BBC One broadcast Earth from Space. Across four episodes, cameras in space told stories of life on our planet from a brand new perspective: cities sprawled while forests and glaciers shrunk. China turned yellow with rapeseed flowers while mysterious green lights appeared in the ocean. Elephants struggled through drought while strange ice rings endangered seals. From start to finish, Earth from Space revealed the sublime array of colours, textures and patterns visible from the stratosphere — and crucially, it showed us just how fast our planet is changing.
British Journal of Photography went behind the scenes with Sent Into Space – the company responsible for capturing the striking spectacle of a solar eclipse for the BBC series – to learn about the process behind the footage. Sent Into Space are regarded as the ‘Near Space experts’; in the last decade, they’ve launched over 500 flights taking images of the Earth from the edge of space. Whatever the project, every shot is taken against the spectacular backdrop of the curving horizon of our planet, detailing the faint blue glow of our atmosphere and the black vacuum of space.
Image courtesy of Sent into Space
Waking early in Fort Laramie, Wyoming, on August 21 2017, the Sent Into Space team got to work preparing for the camera launch ahead of the BBC shoot. “With totality starting at 11:21am, timing was everything,” says the team. “We needed to be in the air at precisely the right minute to hit our target altitude at the moment of totality.”
With wind gusting on the ground, the team took the shelter of a hangar to prepare their most sophisticated launch systems. Aiming to hit a higher altitude than ever before, they launched their technology upward with six cameras taking video footage from every angle. As the eclipse began to unfold on the ground, their flight began to capture its own images; within a matter of minutes, they were entirely engulfed in the shadow of the eclipse.
“Then as quickly as it began, the shadow moved away and totality had ended,” says the team. “But our flight wasn’t over. It continued onwards and upwards surpassing an altitude of 50km (165,000ft) before finally descending back to earth to be recovered.” That night they camped out under the night stars, treated to a breathtaking view of the Milky Way galaxy, without a streetlight for miles around.
Image courtesy of Sent into Space
Sent Into Space’s work spans a number of industries, conducting award-winning viral marketing stunts, advancing scientific understanding of our planet, testing cutting-edge satellite and avionics equipment, inspiring future generations of scientists, engineers and astronauts or scattering ashes on a breathtaking final journey. With a unique mix of engineering, creative and marketing skills and a client list including some of the world’s biggest companies, their growing team is pushing the boundaries of photography at the edge of space.
This year, we’re partnering with Sent Into Space to turn Portrait of Humanity 2020 into the first major space exhibition.
Check out their full footage for the BBC below:
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The tax man cometh! In just a few short weeks it will be time to meet your maker... er... your tax collector and deliver the debt that’s due. If you’re an incorporated business owner, your taxes are due March 15. Otherwise sole proprietors and all the rest of us non-business owners need to file taxes by April 15.
Filing your taxes doesn’t need to be a fraught experience and each of the apps reviewed here promises to make the process of filing your taxes simple and pain-free.
Which software app should you use?
When it comes to the basics of filing your personal taxes, there is very little that differentiates these apps from each other, so, to some extent, you should go with whichever of the companies you’re comfortable with or that you’ve used in the past. The truth is, if you have the proper paperwork, filing your taxes is nothing more than correctly entering data from forms you’ve been given by your employer and your banking institutions. But, if you’re unsure about which app you should choose, or you have specific needs, use the following information and our reviews as your guide:
Voice-activated assistants like Google Home and Amazon’s Alexa have been around for a few years now, but they’re still kind of gimmicky—they’re not exactly J.A.R.V.I.S.-level A.I.s.
But Google Home might be more useful than you realize, especially if you’re only using it to verbally start your Spotify playlists and occasionally settle a family argument when nobody has their phone handy. There are plenty of ways to use Google Home for entertainment, information, or as a tool for being productive and learning new skills. If you’re going to lace your home with Google devices, you might as well make them work for you.
Note: Android users can configure third-party apps in the Google Home app, but iOS users will need to download the separate Google Assistant app. Most third-party apps no longer need to be ‘linked’ to work, though, so this might not be necessary depending on the app.
NPR's Rachel Martin talks to Danny Cho, a stand-up comic born and raised in LA who has achieved moderate success in American comedy. He's moving to Seoul to try to make it as a Korean-language comic.
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In the decades before World War I, French artists began painting scenes of ordinary life — on the street, at work, at home, in clubs and cafes. Their work elevated common acts into fine art.
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Teddy Wayne's new novel is a portrait of loneliness and male insecurity set against the backdrop of academia in the mid-1990s — and a precious, rent-stabilized apartment in Manhattan.
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In Ghost River: The Fall and Rise of the Conestoga, Native artists retell the events of a brutal massacre in pre-Revolutionary Pennsylvania and bring a painful history to life on the page.
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When Adolf Hitler came into power in 1933, around 70,000 Jewish refugees fled German-occupied Europe and settled in the UK. Among them was a group of women photographers, who brought fresh, modernist perspectives, which opened up British photography in the decades that followed.
This Women’s History Month, Four Corners Gallery, London presents a new exhibition that brings together their work for the first time in Britain. Included in the show are pieces by established photographers Dorothy Bohm, Gerti Deutsch, Elsbeth Juda, Lotte Meitner-Graf, Lucia Moholy, Gerty Simon and Edith Tudor-Hart. The gallery will also present work by lesser-known practitioners, including Erika Koch and Lore Lisbeth Waller [below].
Faced with the traumas of exile, these photographers overcame personal struggles to build new lives in Britain. Many re-established their studios, producing portraits of prominent cultural figures, and some became photojournalists, publishing their work for magazines like Picture Post and Lilliput. Another Eye explores how the unique experiences of these women photographers played a significant role in representing post-war Britain and is accompanied by a series of talks, as well as events that explore work by women photographers from migrant and displaced backgrounds.
The Photographers’ Gallery is pleased to offer a special new Exclusive Edition by Karen Knorr
Colour Pigment Print on Hanhnemühle Fine Art Pearl Paper
Edition of 25
12 x 16”
From £1,000 + vat, unframed
Framing available from £150 + vat
In her series India Song, Karen Knorr celebrates the rich visual culture, the foundation myths and stories of northern India, focusing on Rajasthan and using sacred and secular sites to consider caste, femininity and its relationship to the animal world.
Our Exclusive Editions offer affordable works by leading contemporary artists and photographers. These prints have been created for The Photographers’ Gallery and have been donated by the artists insupport of our exhibitions programme. Since 2012 we have launched unique works by artists including Edward Burtynsky, Gregory Crewdson and Richard Mosse among many others. This is the second edition that Karen Knorr has generously donated and this particular work raises funds for the swarm earthquake victims in Puerto Rico.
On 23 June 2016, the UK voted to leave the European Union, plunging the country into over three years of ‘Brexit’ negotiations and ongoing political and social unrest. On that day, Mark Neville was at the opening of a group exhibition with Tom Wood and Chris Killip at the Centre d’Art GwinZegal in Guingamp, a small town in Brittany, France. As the only photographer present at the show, which was, rather appropriately, titled British Subject, Neville was required to deliver a speech. Standing up in front of the Breton audience, the first thing he said was, “I am ashamed”.
Being in Guingamp on Brexit day prompted the photographer to start thinking about the parallels between this region of France and the UK. During the Anglo-Saxon invasion of Britain, between 400 and 600 AD, many Celtic Britons sought refuge in northwestern France. Back then, the region was known by its Roman name, Armorica, but the strong Celtic settlement gave it a new regional title, Brittany. Today, the Breton language, one of six Celtic languages also comprising Welsh, Cornish, and Irish, is still commonly spoken.
Along with these historical links, Neville saw parallels between both country’s political climates — the Brexit vote occurred around the same time that Marine Le Pen, president of the right-wing National Rally, was launching her campaign for the French presidential elections. But, more importantly, the photographer was attracted to the importance of identity for the people of Brittany, which he felt was manifested through their search for and preservation of community, which centred around agriculture.
“It was a mirroring British identity in a strange way,” says Neville. “It is a small regional area, but it’s got this huge sense of identity.” With support from the Centre d’Art GwinZegal, Neville spent three years travelling back and forth between Guingamp and London, photographing the town’s rich agricultural community, and its famous football club and baton twirling teams, who have won national and international awards. Neville also approached individuals, along with groups of friends and families, documenting them in everyday scenes that possess a theatrical element – something for which his photography has become known.
“There is a real sense in which agriculture, and even more than that people’s relationships to animals, is absolutely fundamental to how they live,” says Neville. “It was wonderful for me to see this, all these relationships going on between people and animals.” Among the stories he encountered was a man who bred and owned dozens of hunting dogs, just because he loved the breed, and a woman who quit her job at the abattoir to transform her home into a sanctuary for disabled animals. “It’s full, like a Noah’s Ark for all these animals, like blind horses and injured guinea pigs, coexisting,” says Neville, “it’s her way, I guess, of re-addressing the balance of all those years she spent in the slaughterhouse”.
In 2019, these images were published in Parade, a photobook that is now nominated for the prestigious Deutsche Börse Photography Foundation Prize, and exhibited at The Photographers’ Gallery in London alongside fellow nominees Clare Strand, Anton Kusters and Mohamed Bourouissa.
Sitting in his lofty home-studio in Old Street, London, we are surrounded by stacks of books and bundles of prints from various long-term projects. Whether it be about mental health, toxic waste, or wealth inequality, Neville is known for creatingsocially engaged photobooks that are distributed to a specific audience with the intention of giving back to his subjects and their communities. Deeds Not Words (2010-2012), for example, chronicled the town of Corby, Northamptonshire, where the infamous Corby toxic waste case of 1998 took place. The book was never released commercially — instead, it was distributed to local authorities and global environmental organisations to raise awareness of issues around land reclamation and the handling of hazardous waste. More recently, Childsplay (2016) was sent to 433 local councils and key policy makers in the UK, to advocate for the importance of public play spaces in children’s development.
One of Neville’s most celebrated projects, and his most personally rewarding, was Battle Against Stigma (2015-2018), a photobook that recounts his own experience of PTSD following a three-month commission in Helmand, Afghanistan, in 2010. “It still makes me cry when I talk about it,” says Neville, “I came back, as anyone would, traumatised”. The book was not commercially distributed. Instead it was sent out to prisons, and homelessness and mental health charities with the hope that it would reach soldiers who had “fallen through the cracks”, asking them to reach out for help and share their own experiences. Neville’s personal account was also published in the Independent, which led to a flood of responses from people who were, or knew someone who was, suffering from adjustment disorder. These accounts were published in a second volume of Battle Against Stigma, and displayed alongside his photographs from Afghanistan in a touring exhibition.
“This idea that somehow you can have a seamless transition from being in a war zone to walking down Old Street — not possible,” says Neville. “You can put a cat in a field and let bombs off around it all day, the cat might survive, but it won’t be the same animal anymore, it will be changed for life.”
The social intentions that precede Neville’s photography form an important part of his practice. “I really have to feel like I’m somehow breaking new ground,” he says, “and that is what has been the real joy for me over the past 20 years — this feeling that I’m ploughing a field that nobody else is.” However, for the first time in 20 years of producing documentary projects, “[Parade] was the very first time that I began a project blind,” says Neville. “I didn’t have an intention from the beginning, but I did find it in the process.”
The theme that Neville discovered running through his images was the search for an Ecotopia, a term coined by Ernest Callenbach in his 1975 utopian novel of the same name, and the community, which developed around that. “I felt an affinity to Callenbach’s ideas when I was making the project, and I thought that this search for an Ecotopia was going on almost subconsciously in Brittany,” says Neville, describing the unique relationships that he found between the people, their land, and its animals.
However, Neville was also driven by a desire to shed light on the difficulties faced by the community. Farming forms a central part of Brittany’s regional identity, a place where pigs outnumber humans two to one. However, due to globalisation and urban development, among other factors including climate change, international demand, the industrialisation of farming systems, farmers are under a huge amount of pressure, not just in Brittany but worldwide. According to the UN, of the 570 million farms in the world, more than 90 per cent are run by an individual or a family, who produce about 80 per cent of the world’s food. As land prices rise, and access to it becomes more difficult, small farmers are under increasing economic pressure and stress; in the UK, more than one farmer a week dies by suicide.
Following his Deutsche Börse nomination, Neville decided to publish a follow-on book, Parade (texts), which comprises interviews with some of the farmers he met in Brittany. The book also includes a call to action from farming charities and organisations, addressing an issue that almost every farmer in Brittany has struggled with: Access to land. “Conditions for farmers are grim, and that’s partly because of government regulations,” says Neville, who writes in the introduction: “Too little is known or discussed about this, and the aim of Parade (texts) is to give urgently needed support to those independent farmers who are trying to safeguard and develop what they do.” Along with the photobook, Parade (texts) will be distributed to key policy makers, attempting to instigate change and alleviate a struggle that is experienced by farmers all over Europe and beyond.
Neville sees himself an activist, “but having said that, at the end of the day, I still consider myself an artist,” he says. The photographer studied Fine Art at the University of Reading before completing an MA in conceptual art at Goldsmiths, University of London. Still, his artistic references, which includes Hans Haacke, who explores institutional critique in the museum system, as well as artists such as Martha Rosler and Robert Heinecken, are very much socially engaged. “I’ve never been able to make pictures and just see them in a newspaper, or on a gallery wall,” says Neville. “I’ve always felt that because photography deals with reality, I’ve got an ethical responsibility to try and change the world“.
Last month, Neville was photographing on the frontline in Ukraine, and this week he will be travelling to Chernobyl for The New York Times. His upcoming book with Steidl, Ukraine — Stop Tanks with Books, comprises five years worth of work made in Ukraine, with subjects ranging from holidaymakers, churchgoers and nightclubbers, to some of the two million people who have been displaced by the war in Eastern Ukraine. Compiled with research relating to the war, two million free copies of the book will be distributed to policy makers, members of parliament in both Ukraine and Russia, and the international media. “The idea is that if you’re a recipient of this book, you’re in a position to help change this situation.”
After documenting and experiencing the effects of so many structural injustices within society, one does wonder whether Neville feels disillusioned by our world. “Yes of course,” he responds, and then after a slight pause, “but it’s good to be awake, isn’t it?” Does he think his projects actually change anything? “I’m not sure. But I do know that I have a responsibility, or the work has a responsibility to try, at least. Because if it doesn’t, then we’re all going to hell in a hand-basket.”
The Philips Hue Go is pretty and portable, and you can operate it on its own, via Bluetooth, or as part of a whole-home Hue lighting system with the Hue Bridge.
Mikki Kendall reveals how feminism has failed to consider populations too often excluded from the movement's banner — and forgotten to weigh the breadth of issues affecting the daily lives of many.
(Image credit: Beth Novey/NPR)
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My first hour or so with Ori and the Will of the Wisps felt familiar. Too much so, if we’re honest. Ori and the Blind Forest released in 2015, on the leading edge of the “It’s Metroid, but—“ trend. There were a few harbingers of the flood to come, in Guacamelee and Axiom Verge and Dust: An Elysian Tail. But Ori and the Blind Forest entered a scene that was relatively empty.
Will of the Wisps, not so much. And as I dutifully gathered my double-jump and my air dash, flitting through a lush forest scene in the same old ways, I felt worried—or rather, wearied. Developers don’t need to reinvent the wheel with every game, but the Metroid tires are looking pretty worn after the last few years.
Why does Microsoft think you need the Windows 10 Your Phone app? Because it preserves the most important functions of a phone: access to your photos, messages, notifications, calls, and even your phone’s home screen—without the need to remove your phone from your pocket.
That might sound ridiculous, but think again: Once you pull your phone from your pocket, you’re instantly lost in messages, email, Instagram—all of these distracting from your focus and flow while working on your PC. Theoretically, you could refuse to open Outlook on your PC and use your phone instead. But you don’t, right? Because the PC is much more convenient—and, in certain situations, playing with your phone is also quite rude.
The World Photographic Cup is committed to providing a safe environment for its awards celebration. We are closely monitoring the recent developments in northern Italy, and have already met to map out a possible strategy should the situation there worsen significantly. WPC organizers will always err on the side of caution. If there is the slightest concern for the safety of attendees, the event will be either relocated or postponed. Rome is not affected by the outbreak at this time, and there is no indication that it will be. While we are monitoring the situation extremely closely, an objective and rational assessment does not warrant a change at this time. As always, we urge attendees to make decisions that are best for them, and look forward to another exciting awards ceremony on March 23rd.
We urge WPC team captains in their respective countries to disseminate this information to their members. We will also update this information on https://worldphotographiccup.org as necessary.
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The nominations for this year’s World Press Photo Contest have been announced, revealing the runners up for the coveted Photo of the Year and Story of the Year awards. Nominees have also been revealed for the contest’s eight sub-categories: Contemporary Issues, Environment, Sports, Nature, Spot News, Portraits, and Long-term Projects. Out of 4,000 photographers from 125 countries, 44 nominees were selected, 30 of who have been nominated for the first time.
Nominations for Photo of the Year include Mulugeta Ayene, for her image of two women mourning the death of their relatives, who were among the 158 casualties of Ethiopian Airlines Flight 302. Ayene’s wider series of work, capturing the devastation at the crash site, has also been nominated for Story of the Year.
Other nominees include Farouk Batiche, who captured the clash between the police and civilians during an anti-government demonstration in Algeria, and Ivor Prickett, for his photograph of an injured Kurdish fighter. These were nominated alongside images by Yasuyoshi Chiba, Tomek Kaczor and Nikita Teryoshin.
Last year, World Press Photo introduced a new headline award, the World Press Photo Story of the Year, which aims to award photographers for excellent editing, sequencing and storytelling that represents an important event or issue of journalistic importance.
Alongside Mulugeta Ayene’s series of the Ethiopian Airlines crash site, Nicolas Asfour has been nominated for his story about Hong Kong protesters, alongside Romain Laurendeau’s documentation of football fans in Algeria — a subculture that is just as much an escape as it is a form of revolution.
Representing some of the most urgent issues of today, the Environment category includes images by Noah Berger of firefighters battling the Californian bushfire, and Frederic Noy, who captures the devastating effects of climate change on Lake Victoria in Africa.
Luca Locatelli is also nominated in the environment category for his striking series The End of Trash, which documents examples of circular economy solutions — new technologies that aim to consume sustainably and limit the production of waste.
In the Contemporary Issues category, Steve Winter is nominated for his image of captive tigers who pose in a pool employed for tiger shows at Myrtle Beach Safari in South Carolina, alongside Mark Peterson’s chilling image of members of a white supremacist group celebrating Hitler’s birthday on 20 April.
Other highlights include images by Tatsiana Tkachova, who addresses the subject of abortion, a word that is still taboo in Belarus, and Lee-Ann Olwage’s striking portrait of a drag artist and activist, both nominated in the Portraits category.
Elsewhere in the Nature category, Brent Stirton advocates for the world’s most trafficked animal, pangolins, and in the Sports category, Oli Scarff is nominated for his image of Liverpool’s epic Champions League victory parade, and Kim Kyung-Hoon for his image of Japan’s veteran rugby players.
Dell
