This year, he says, all the images have been thoroughly checked before the shortlists have been announced, let alone the winners. “All the checking is already done – all raw files, where the images were shot, everything,” he tells BJP. “We know how important it is that everything can be trusted, and we keep asking questions until we are satisfied. We wouldn’t announce the shortlists unless we were.”
“If you are asked to think what is the photo of the year, you have to try to have something about the events of that year, and that sends you to a news or documentary photography,” says Magdalena Herrera, director of photography for Geo France and chair of the jury for the 2018 World Press Photo Contest. “But we were looking for a point of view, the photographer’s point of view. We weren’t looking for an opinion, but for images in which someone had been able to take the photographic tool to envisage their part. Even if you are a documentary photographer, you choose the moment when you take the shot. YOU are the one reporting.
Since 2009, around 400 acres of land in Notre-Dame-des-Landes, a commune in the west of France, has been home to Europe’s largest rural protest camp. Led by a mix of environmental activists and locals, the ZAD (which roughly translates to ‘Zone To Defend’ in English) developed in opposition to the construction of an international airport that would wipe out the wildlife and villages of the area. Though these plans have stalled for several years now, the ZAD has taken root, growing into a self-sufficient community complete with its own markets, bakery, brewery, theatre space, newspaper and even a pirate radio station. Intrigued by people and the structures that bind them, sociologist-turned-photographer Kevin Faingnaert spent a month documenting the ZAD as part of his participation in World Press Photo’s most recent Joop Swart Masterclass.
“You’ll Know It When You Feel It feels rooted in a fundamental desire to understand members of her family and her immediate community – and to allow her audience to see these individuals in the same empathetic light.” Rosella has won first prize and £5000 in the inaugural PHmuseum Women Photographers Grant for a shot in her native Australia; the £2000 second prize went to Egyptian photographer Heba Khamis, whose project on breast ironing, Banned Beauty, was shot in Cameroon.
“I think politics affects every decision in daily life – it’s hard to remain on the sidelines,” says Musuk Nolte. “For me, photography is a visual element to work on these very complex issues. “With all the problems we have in our country, we have the responsibility to leave a visual document,” continues the photographer, who was born in Mexico in 1988 but is now a naturalised Peruvian.”I felt the desire to leave a document of what was going on, that it could serve as a visual and historical record. It was my way of relating to my country, but it’s important that this work also has an impact outside the community.”
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