Source: dpreview.com/IPA

This year, the Inter­na­tion­al Pho­tog­ra­phy Awards (IPA) received more than 13,000 entries from 120 coun­tries. On Tues­day Octo­ber 27, the judges announced the win­ners and final­ists in 13 cat­e­gories.

“Dur­ing these unprece­dent­ed times, the entries sub­mit­ted to the com­pe­ti­tion reflect some of the biggest chal­lenges fac­ing our gen­er­a­tion. Not the least of these is relat­ed to the virus, which for the first time rep­re­sents an event that has affect­ed every per­son on Earth in one way or anoth­er. We see pho­tog­ra­phy at its best — whether it’s the COVID pan­dem­ic or the world­wide upris­ing against injus­tice — all the pho­tos are breath­tak­ing. I can eas­i­ly say that these are the best pho­tographs I have seen in decades,” says Hos­sein Far­mani, Founder and Pres­i­dent of IPA.

Below are pho­tos of the win­ners in the Pro­fes­sion­al cat­e­go­ry who received the Lucie Tro­phy and a $10,000 cash prize. The work of the final­ists of the “Dis­cov­ery of the Year” com­pe­ti­tion among non-pro­fes­sion­al pho­tog­ra­phers and stu­dents who were award­ed the Lucie Tro­phy and a cash award of $5,000 can be found here. Grand Prix win­ners for both cat­e­gories will be announced at a spe­cial online event at a lat­er date.

Source: dpreview.com/IPA/photoawards.com

Adver­tis­ing Pho­tog­ra­ph­er of the Year: A Sus­tain­able Future of Exquis­ite Lux­u­ry Mobil­i­ty – Mike Dodd (Great Britain).

Author’s com­ment: The image was meant to reflect how Bent­ley sees a sus­tain­able future for excep­tion­al trav­el. The char­ac­ter­is­tics of the Bent­ley EXP 100 GT con­tained the fol­low­ing [заявления]as: – excep­tion­al crafts­man­ship; – an impec­ca­ble com­bi­na­tion of mate­ri­als and care­ful­ly select­ed tech­nolo­gies; – the use of light as a new lux­u­ry mate­r­i­al; — 5,000 year old British oak pet­ri­fied wood impreg­nat­ed with recy­cled cop­per; – Com­pass body paint made from recy­cled rice husks; – 100% organ­ic leather-like tex­tile made from wine­mak­ing waste; – Cum­bria Crys­tal inter­faces; – inte­ri­or ele­ments made of cot­ton with embroi­dery.

Tech­ni­cal infor­ma­tion: Canon 5DS, 24mm, f/9, 1 to 30 sec­onds. Retouch­ing: Gosia Klosows­ka.

Source: dpreview.com/IPA/photoawards.com

Analog/Film Pho­tog­ra­ph­er of the Year: New Seas – Paulius Makauskas (Lithua­nia).

Author’s com­ment: Tim­o­thy Mor­ton con­sid­ers cli­mate change to be a “hyper-object” — an incom­pre­hen­si­bly large object stretched across space-time. Such an object is rec­og­niz­able only in parts, but nev­er all at once.

Microplas­tics are bare­ly vis­i­ble par­ti­cles that are at the same time present through­out the ocean. I imag­ine it as syn­thet­ic plank­ton of every con­ceiv­able col­or, wan­der­ing invis­i­bly from one place to anoth­er. I spent a lot of time by the sea, so it was eas­i­er for me to see that the white crests of the waves cre­ate an end­less white-gray paper can­vas in space and time. I only need­ed to fill it with light to reveal the invis­i­ble.

Tech­ni­cal infor­ma­tion: 4x5, Fuji Provia 100, 40 — 50 min­i­mum expo­sure, 210mm.

Source: dpreview.com/IPA/photoawards.com

Archi­tec­ture Pho­tog­ra­ph­er of the Year: From the Stage – Jesus M. Chami­zo (Spain).

Author’s com­ment: The the­ater can turn the stage into a tem­ple, and the per­for­mance into some­thing sacred. In South Asia, per­form­ers rev­er­ent­ly touch the floor of the stage before step­ping on it, an ancient tra­di­tion that inter­twines the spir­i­tu­al and the cul­tur­al.

This is my spe­cial trib­ute to the Tem­ple of the The­ater and what it rep­re­sents — a noble cul­tur­al cause that helps human­i­ty grow. Con­tem­plat­ing from the stage, we observe that majes­tic emp­ty space, which acquires a dou­ble mean­ing. Sur­prise, but also hope with the mes­sage: “The spec­ta­cle, no doubt… will go on.”

Tech­ni­cal infor­ma­tion: Nikon, var­i­ous lens­es.

Source: IPA/photoawards.com

Pho­tog­ra­ph­er of the Year, Pho­to Book Cat­e­go­ry: ANTARCTICA: The Wak­ing Giant – Sebas­t­ian Copeland (Ger­many).

Author’s com­ment: This book doc­u­ments over a decade of trav­el in and around Antarc­ti­ca. While the coast evokes visions of a lost world, the inte­ri­or is rem­i­nis­cent of anoth­er plan­et. I spent 84 days cross­ing this life­less plateau with no help oth­er than skis and kites.

Source: IPA/photoawards.com

Tem­per­a­tures nev­er exceed­ed ‑35C, a chal­lenge to every­thing, espe­cial­ly the equip­ment. My research has giv­en me a deep­er under­stand­ing of the changes tak­ing place as a result of cli­mate change. The pho­tographs I show tell the sto­ry of a chang­ing envi­ron­ment that hints at the com­ing redraw­ing of the world map, and every­thing else that implies.

Source: dpreview.com/IPA/photoawards.com

Deep Per­spec­tive Pho­tog­ra­ph­er of the Year: Exo­dus – Nico­lo Fil­ip­po Rosso (Colom­bia).

Author’s com­ment: This project tells the epic jour­ney of Venezue­lan migrants, dri­ven by des­per­a­tion and hunger, under pres­sure from forces beyond their con­trol. Two years ago, I decid­ed to doc­u­ment their sto­ry and self-fund­ed the Exo­dus project.

Source: IPA/photoawards.com

After spend­ing weeks and some­times months in some bor­der areas, I trav­eled with migrants who call them­selves “the walk­ers”. They made a long jour­ney from the east­ern bor­der of Colom­bia through the Andes to the coun­try’s cap­i­tal, Bogotá. This series of pho­tographs is the result of time spent with them.

Source: IPA/photoawards.com

Press Pho­tog­ra­ph­er of the Year: Pro Democ­ra­cy Demon­stra­tions, Hong Kong: The Rev­o­lu­tion of Our Time – Kiran Rid­ley (France).

Author’s com­ment: On June 9, 2019, about a mil­lion peo­ple took to the streets of Hong Kong to protest against the gov­ern­men­t’s pro­posed extra­di­tion bill, which allows cit­i­zens to be extra­dit­ed to main­land Chi­na for pros­e­cu­tion.

Source: IPA/photoawards.com

Since that day, Hong Kong has plunged into a polit­i­cal cri­sis, with waves of demon­stra­tions and vio­lent clash­es between police and pro­test­ers, with an alarm­ing rise in alle­ga­tions of police bru­tal­i­ty and alle­ga­tions of mis­con­duct as the protests evolved into a broad­er call for demo­c­ra­t­ic rights and free­doms. in a semi-autonomous city.

Source: dpreview.com/IPA/photoawards.com

Event Pho­tog­ra­ph­er of the Year: Ele­ments – Kat­ja Ogrin (Great Britain).

Author’s com­ment: Explor­ing live per­for­mance ele­ments such as water, fire, smoke and oth­er pyrotech­nic effects that enhance the visu­al impact on the audi­ence.

Source: dpreview.com/IPA/photoawards.com

Fea­ture Pho­tog­ra­ph­er of the Year: Look­ing out from With­in, 2020 – Julia Fuller­ton Bat­ten (Great Britain)

Source: IPA/photoawards.com

Author’s com­ment: Look­ing inside, 2020 Covid-19 has arrived. Life has changed. Per­haps irrev­o­ca­bly. I became numb. Could­n’t stand help­less­ly. I decid­ed to doc­u­ment the new dai­ly exis­tence of mil­lions. I talked about my idea on social media and in a local news­pa­per in West Lon­don. The response was huge. Impris­oned in their home, they sad­ly look out the win­dow at anoth­er, aban­doned world out­side.

Tech­ni­cal infor­ma­tion: f/5.6, 1/30 sec.

Source: dpreview.com/IPA/photoawards.com

Nature Pho­tog­ra­ph­er of the Year: Black Moun­tain Ari Rex (Aus­tralia).

Author’s com­ment: In Jan­u­ary 2019, Can­ber­ra expe­ri­enced one of the most spec­tac­u­lar thun­der­storms in his­to­ry. She passed through the city from west to east over the black moun­tains and con­tin­ued on her way to the moun­tains of Brind­abel­la.

Tech­ni­cal infor­ma­tion: Canon EOS 5D Mark iii 88mm, x16, 4″, f/5.6, ISO 640.

Source: dpreview.com/IPA/photoawards.com

Peo­ple Pho­tog­ra­ph­er of the Year: Odi­lo Lawiny — Hand­made Soc­cer Balls Bri­an Hodges (Aus­tralia)

Author’s com­ment: A few miles off main roads in rur­al Ugan­da, soc­cer balls bounce uneven­ly off the ground. The play­ing fields are arid, lush, weedy, sandy—any lev­el ground will do. Some feet are bare, oth­ers are shod in worn sneak­ers, boots, rub­ber san­dals. How­ev­er, chil­dren deft­ly and self­less­ly kick and chase home­made lop­sided balls, com­pet­ing for pride and joy — for the pure plea­sure of the game.

Balls are cre­at­ed using what­ev­er is at hand: a rag or a sock, a tire or bark, a plas­tic bag or banana leaves. Made entire­ly from recy­cled mate­ri­als, they give new life to what would oth­er­wise be thrown away.

Tech­ni­cal infor­ma­tion: Leica S.

Source: dpreview.com/IPA/photoawards.com

Spe­cial Pho­tog­ra­ph­er of the Year: The Silent Men­ace (The Silent Men­ace) – Toby Heikki­la (Cana­da).

Author’s com­ment: Ter­ri­bly qui­et down­town Cal­gary dur­ing rush hour. Sole occu­pant, silent threat. Unseen and invis­i­ble.

Tech­ni­cal infor­ma­tion: Sony, 7rm2, FE 55mm f/1.8

Source: dpreview.com/IPA/photoawards.com

Sports Pho­tog­ra­ph­er of the Year: Bod­ies of the NFL – Howard Schatz (USA).

Author’s com­ment: body type tells what posi­tion the play­er is play­ing. Posi­tion deter­mines the body type of all NFL play­ers.

Source: IPA/photoawards.com

Motion Picture/Video Pho­tog­ra­ph­er of the Year: The Jour­ney to the Land of Dreams – Iwona Pod­lasin­s­ka (Poland).

Source: Iwona Pod­lasin­s­ka

Author’s com­ment: This video is a series of mov­ing pic­tures that tells the sto­ry of an imag­i­nary jour­ney to a win­ter dream­land. The chil­dren in the pho­tographs trav­el by horse, train or on foot to reach the land of imag­i­na­tion. This video was cre­at­ed by Zaman Dizi­ni from pho­tos tak­en by Iwona Pod­lasińs­ka.

* when prepar­ing the arti­cle, mate­ri­als from the resources dpreview.com and photoawards.com were used


От Yara

Добавить комментарий