Tag Archives: Fotobook

Awards, Grants, and Competitions | Deadlines and Recipients | 6 June 2012


Rory Peck Awards 2012 : June 11

2012 AnthropoGraphia : Human Rights through Visual Storytelling Award : June 15

IdeasTap Photographic Award :  for photographers aged 23 to 30 : June 15

Class of 2012 : June 20

The Ian Parry Scholarship : June 30

Prix Virginia : July 2

Pride Photo Award : July 7

William and Winifred Bowness Photography Prize : July 13

The Firecracker Photographic Grant : July 22

Taylor Wessing Photographic Portrait Prize 2012 : August 3

CDS/Honickman First Book Prize : September 15

Carmignac Gestion Photojournalism Award : September 30


American Photography 28

BOP Winners (NPPA)

BOP winners (NYT Lens)

National Magazine Awards 2012 Winners Announced

Flash Forward – Emerging Photographers 2012

KL Photoawards 2012 : Winners

Open Photo Winner: Ilan Godfrey (OPENPhoto)

London Festival of Photography  Prize 2012 shortlist (LFPH)

Mitch Dobrowner wins 2012 Sony World Photography Awards title (BJP)

‘Passengers’ Wins the Fifth International Fotobook Festival Dummy Awards (Lightbox)

New York Times Wins BOP Best Use Of The Web (NPPA)

Photographer Annie Leibovitz honoured by LA gallery (BBC)

Hope for a Healthy World Photo Competition Winners

‘Passengers’ Wins the Fifth International Fotobook Festival Dummy Awards

For the past five years, Kassel Germany has been home to the most important annual forum on the world of photography books, the International Fotobook Festival. This year, with the Documenta exhibition taking over the city of Kassel, the Le Bal photography museum in Paris hosted the Fifth International Fotobook Festival from April 20 – 22.

The festival is a weekend full of artist lectures, book exhibitions, booksellers and publishers showcasing their most recent offerings, portfolio reviews and awards for the “best” photobooks from the previous year. For photographers hoping to find interest in their yet-to-be-discovered book projects, the main attraction of the Kassel Festival is its “photobook dummy” competition for the best unpublished photobook mock-up. The first place winner receives a publishing contract with the German publisher Seltmann und Sohne. The second and third place winners receive several hundred euros worth of credit from the print-on-demand service Blurb.

This year, the dummy competition was between fifty-eight books culled from over five hundred entries, ranging from very roughly hand-made objects to the most finely polished in editing sequencing, design and printing. All books selected are tethered to tables and prominently displayed, encouraging visitors to leaf through them and discover new talents. On Saturday, a small panel of experts in the field convened in the closed galleries to passionately argue their opinion and decide on the three winners. This year’s panel included; Gerry Badger (Critic, Photographer, London), Todd Hido (Photographer, USA), Dieter Neubert (International Photobook Festival, Kassel), Laurence Vecten (Lozen Up, Paris), Oliver Seltmann (Publisher, Berlin), Diane Dufour (Director Le Bal, Paris), Andreas Müller-Pohle, European Photography, Berlin), Markus Schaden (Bookseller, Publisher, Cologne) and Sebastian Hau (Le Bal Books, Paris).

And the envelopes please…

Courtesy of Andrea Botto

From Andrea Botto’s book, 19.06_26.08.1945

Third place went to Andrea Botto and his book 19.06_26.08.1945. Created in the memory of his grandfather Primo Benedetti, the book traces his journey through Northern Germany to his home in Tuscany after being released from a Nazi prisoner of war camp on June 19, 1945. Botto’s approach was to compile images from the internet by searching dates in tandem with the names of cities through which her grandfather passed. Pages of historical images are combined with 1:1 scale personal documents and letters sent to his family during his imprisonment. The resulting book feels as if the reader has discovered an encyclopedia of war filled with tender personal documents slipped between its pages.

Courtesy of Carmen Catuti

From Carmen Catuti’s book MICHELLE (Best Wishes from 18,500m High. MICHELLE).

The second place winner is much harder to pin down in a few words. Liebe Grüße aus 18500m Höhe, MICHELLE (Best Wishes from 18,500m High. Michelle) from the Italian photographer Carmen Catuti is about a man who calls himself Michelle and says he’s a professional model. Catuti photographed her subject as he wished to be photographed according to his own conceptions “as a modern man” posing among arrangements of trees and shrubbery, cleanly drawn from darkness by flash. Mixed in are very brief texts, possibly letters from Michelle challenging the collaboration; “Plain backgrounds are often too boring. A picture must immediately be elegant, exciting and original.” This book is a U.F.O. (Unique Foto Object?) and the world of photobooks needs more sightings like this.

The top honors for the 2012 Photobook Dummy Award went to a remarkable body of work from Dagmar Keller and Martin Wittwer and their collaborative book Passengers. During a residency in Poland in the winter of 2011-2012, Keller and Wittwer were initially looking to start a project photographing Socialist architecture but discovered instead a tangential subject: a bus station in Kielce and its passengers awaiting departure within dozens of regional buses. Framing their subjects from outside, looking in through the frost and mist of the bus windows, the couple photographed individually but combined the results into a sequence of images that seem to have a completely unified voice. Calling upon the long traditions of portraiture and documentary style work, the images are stunningly intimate and beautiful but without the trap of sentimentality.

Congratulations to the winners! I find it refreshing that a majority of the winners from the past two years have been women. The history of the photobook, as written, is remarkably male-heavy. These contest results point toward a new horizon that may very well restore some balance.

Jeffrey Ladd is a photographer, writer, editor and founder of Errata Editions. Visit his photo book blog 5B4 here.

Review: Foto/Gráfica @ Le Bal

Le Bal’s latest exhibition, Foto/Gráfica: Une nouvelle histoire des livres de photographie latino-américains (A New History of Latin-American Photobooks) opened last week. The show is based on a selection of 40 books taken from Horacio Fernandez’s recently published book on books, The Latin-American Photobook (Aperture, 2011). This is not Le Bal’s first photobook exhibition—they presented Japanese Photobooks Now in the summer of 2011—but it is the first time that they have devoted their entire space to an exhibition of books. Following this show they will be hosting the 5th International Fotobook Festival, which is traditionally held in Kassel, so it seems that photobooks are becoming one of the major areas of focus of their programme.

According to Martin Parr, Latin-American photobooks “are the best kept secret in the history of photography”… one of the many secrets that are being steadily revealed by Parr and/or Aperture through The Photobook: A History series, Japanese Photobooks of the 1960s and ’70s and a forthcoming book on Chinese photobooks that Parr is doing with WassinkLundgren chez Aperture. The ‘books on books’ phenomenon is gaining so much traction that Andreas Schmidt, a pleasingly disruptive photobook maker, is already looking forward to the book on books on books which surely can’t be too far away. As for Parr’s quote, I am willing to take his word for it, knowing absolutely nothing about Latin-Amercian photobooks (with a few Mexican exceptions) and having had very few opportunities to see any.

© Pascal Martinez

I was particularly interested to see how Le Bal would take on this subject. Although there appears to be a growing trend for exhibiting books, the ones I have seen so far have generally been disappointing. Books are not an easy thing to exhibit, in fact they are exhibition-resistant in my view. Most people’s preferred position for reading or looking at books is sitting down and they are generally consumed by one person at a time, things that are difficult to replicate in an exhibition context. Exhibitions do not encourage visitors to touch the works on display, making it difficult to display more than one spread, something which is painfully reductive unless multiple copies of each book displayed can be tracked down. I think the key in exhibiting books is in overcoming these obstacles by recreating the immersive experience of a book in a way that goes beyond the experience of going into a very good bookstore.

In addition to the basic difficulties of exhibiting books, Le Bal’s space is far from huge whereas Latin America is on the large side and presumably has produced a decent number of interesting photobooks over the years. This poses the additional challenge of avoiding the exhibition equivalent of a ‘best of’ compilation album. To borrow the strapline from a random ‘Best of Latin America’ compilation, this could have been “a lively exhibition filled with hot and spicy Latin American photoboks!” which would probably have given me a severe case of indigestion.

Thankfully the exhibition successfully avoids most of these pitfalls. Rather than structuring the exhibition around individual countries, it is broken up into a series of sections: history and propaganda, urban photography, photographic essays, artist books, literature and photography, and contemporary books. These categories go beyond the traditional bounds of the photobook, expanding its definition to something like ‘books that contain photography,’ which makes the terrain far more diverse and interesting, bringing in books such as the revolutionary propaganda tome, Sartre Visite a Cuba (1960) or Auto-photos (1978) an artist book documenting a performance. There is enough material in each of the sections to whet the appetite, but without requiring you to spend several hours in the exhibition space just to cover all the material on display.

The scénographie of Foto/Gráfica is particularly good, the best I have seen for a photobook exhibition. Firstly, in order to tackle the issue of displaying more than one spread from each book, the organizers have decided to go down the road of sacrifice and cut the books up so that a series of spreads can be displayed (there are clearly enough copies of these books to spare, as book-surgery is not the kind of thing that could be done with an exhibition of rare Japanese photobooks for example). The books are displayed in a variety of different ways, from ‘classic’ glass display cases, to superimposed custom shelving units hanging on the walls. The exhibition also makes good use of prints, which are exhibited alongside the books and are a useful reminder of how different these media are. In the downstairs space, the central wall has been covered with scans of the spreads from a single book with a handful of prints displayed in mounts floating on the surface, a very impressive display. I’m posting a few of the official installation views with this post, as my crappy iPhone shots would not do the exhibition justice. By deconstructing the books in these different ways, it makes the viewer think about the form of the book and its specific qualities.

© Pascal Martinez


© Pascal Martinez

© Pascal Martinez

The success of Foto/Gráfica is that it opens itself out beyond Latin American photography to engage with Latin American artistic culture more broadly. By giving politics, literature and other art forms center stage, the exhibition not only provides some much-needed context, but opens up a number of interesting paths of inquiry. Photobook lovers won’t need my encouragement to go and see this, but this is one for those that are not book geeks as well. After Paris, the exhibition is travelling to Ivory Press in Madrid, Aperture in New York and to the Museo del Libro y de la Lengua in Buenos-Aires.

Foto/Gráfica, Une nouvelle histoire des livres de photographie latino-américains, Le Bal, 20 January – 8 April 2012.

Rating: Recommended


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