The esteemed festival of photojournalism hosts 25 exhibitions, with each work investigating a critical social and political issues affecting the global community today
Tag: Visa pour l’Image
The 31st international festival of photojournalism delivers a programme of hard-hitting reportage in an era when increasing hostility threatens freedom of the press
What’s your vision of America? Dominating popular culture for years, it’s a country nearly everyone…
American photographer Laura Morton has won the 2018 Canon Female Photojournalist Award. The award gives her €8000 funding towards a new project, which will be exhibited at the 2019 Visa Pour l’Image festival.
Originally trained in Political Science and Journalism, Morton has previously shot projects on FARC guerrillas in Colombia, the segregation and oppression of Pashtun women in Pakistan, and military sexual assault survivors in the US, and her project on young tech entrepreneurs in San Francisco, Wild West Tech, was funded by the Magnum Foundation and published in BJP’s April 2016 relaunch issue. But she won the award with a pitch for a new project titled University Avenue, named after a road which runs through two very different districts of her home town, San Francisco.
Seven European festivals make the best of their locations and the late-summer timing to show off al fresco programmes this September – Visa Pour l’Image, Getxophoto, BredaPhoto, Festival Images Vevey, Landskrona Foto Festival, Guernsey Photo Festival, and Brighton Photo Biennial
“I used to describe myself as a photojournalist, and was very proud of it,” wrote Abbas in 2017. “The choice was to think of oneself either as a photojournalist or an artist. It wasn’t out of humility that I called myself a photojournalist, but arrogance. I thought photojournalism was superior, but these days I don’t call myself a photojournalist because, although I use the techniques of a photojournalist and get published in magazines and newspapers, I am working at things in depth and over long periods of time. I don’t just make stories about what’s happening. I’m making stories about my way of seeing what’s happening.” Abbas has been described as a “born photographer”, who over his 60-year career covered war and revolution in Vietnam, the Middle East, Bangladesh, Biafra, Chile, Cuba, Apartheid South Africa, and Northern Ireland. He also pursued a lifelong interest in religion in his work, shooting in 29 countries to create the book and exhibition Allah O Akbar: A Journey Through Militant Islam, and publishing long-term series on Christianity, Buddhism, Hinduism, Judaism, and animism.
Anna Alix Koffi realised that the issue of women in photojournalism was so big that it warranted a publication of its own, and started thinking out a framework for a second edition of Visa Paper focusing on work by women. “I realised I could do this because there are women artists everywhere I go,” she says. “Most of the time publications don’t focus on women, but I knew that Woman Paper Visa would be special because women in photojournalism is a strong thing. It’s much more difficult than any other form of photography.”
“The recipients of the 2017 Getty Images Editorial Photography Grants are working at the cutting edge of photojournalism, ensuring that often ignored global issues are brought to the forefront of public consciousness,” said Hugh Pinney, Vice President of News, Getty Images. This year’s winners see projects taking place in war torn Mosul, documenting the unrest in Venezuela and refugees seeking new homes in Europe.
Reuters Pictures has launched a new grant at this year’s Visa pour l’Image festival in Perpignan, France. With eight grants, each worth $5,000 USD available, and expert advice from Pulitzer Prize winning photographers available, Reuters hopes to attract the next generation of photojournalists.
The Visa Pour l’Image festival returns for the 29th time – to “turbulent time”, in which “photojournalists are obviously needed, and play an essential role which is now more important than ever” as the co-founder and director general Jean-François Leroy puts it