Author Archives: psv

Exhibition > ¿What are we up to?

Punt de referència: què fem aquí?

Dies: Del 5 de juny de 2018 al 19 de juny de 2018
Espai: Espai Arenes (Llança, 21)

Exposició col·lectiva dels joves del programa de mentoria de l’Associació Punt de Referència

Aturar-se i reflexionar sobre què fem aquí, què sentim i què volem dir. D’aquí neix “Què fem aquí?”, una exposició fotogràfica participativa, resultat d’un projecte de mentoria grupal per a joves que realitza l’Associació Punt de Referència, on la fotografia participativa, de la mà de les talleristes de l’Àrea d’Educació de Photographic Social Vision, es converteix en el mitjà per expressar les seves inquietuds, incerteses i anhels que sovint són complicats d’abordar amb paraules.

Amb la col·laboració de Photographic Social Vision i Fujifilm.

Horari de visita:
Dilluns, dijous i divendres, de 17 a 19 h
Dimarts i dijous, de 12 a 14 h

Lloc: Espai de fotografia Francesc Català-Roca (C/ de Llança, 21)
Entrada lliure

Més info aquí.

Interview > Javier Arcenillas about Latin America

©Javier Arcenillas 

Photojournalist Javier Arcenillas, winner of the third World Press Photo 2018 award in the category of Long-Term Projects with “LatidoAmerica”, tells of his experience in the continent to Silvia Omedes, Director of our foundation.

Silvia Omedes (SO) What does it mean to you to have won a World Press Photo?

Javier Arcenillas (JA) For me, winning a World Press Photo award means a lot, because what I like most about my profession is that my work is broadcasted in all parts of the world. And that’s guaranteed with World Press Photo.

It is also a major milestone in my resume as a photojournalist. I could almost erase half of it and just say I have the World Press Photo. And finally, I am very proud: I believe that the prize is the aspiration of many photojournalists. In my case, it’s my “doctorate” for a job, or I feel that way.

The World Press Photo is a recognition of a project I have worked on for a long time. It’s not a great picture taken in a tense moment with some skill. No.  It is a reward for a job that has involved a lot of reflection, a lot of patience and sensitivity, a lot of time and money wasted, and a lot of emotional loss as I have lost friends along the way.

SO. Your photographs of Latin America often depict a violent and troubled society…

JA. It’s true. And in my opinion one of the reasons why this is the case is because of poor social planning, and insufficient and low-quality public education. I do not believe that we should invest in security, but in education. By this I don’t mean that the people there are all bad. On the contrary, they are rich in spirit, heart and as intelligent as we are, no one here is above anyone else. But, in many of these countries, the situation of state education is very bad: you only study if you can afford to go to a private school. And few can.

I take pictures of murderers, but I try not to judge. Is the killer guilty? Yeah… but what do we know about them? Why have they come to that? They are probably the result of a consequence, and that consequence is what I am trying to find out…, in a psychologically disturbed society.

When I’m there I try to understand them and be with them. When I go there I try to empathize with them and with the situation. And I’ve built up a lot of bonding there. Guatemala, Honduras, Mexico, for me are my home.

SO. Your award-winning work is in the Long-Term Projects category…

JA. Yes, and that’s how I conceive my photographs. It is not that they do not exist “alone” but they have complete meaning in the context of long, time-consuming projects. And in which reflection, thought and technique are very present. I photograph to make a complete work together. I am not a “mono-picture maker” of photos. I feel the need to tell a complete story.

In this World Press Photo 2018, Daniel Beltrá has also been awarded for his work, but Daniel has been doing this “little job” for 20 years!

SO. Feeling the World Press Photo as a culmination to 9 years of dedication to a theme… Which one would you like to face in the next years? Can you tell us about a future project?

JA. I would like to do some fun photojournalism, not hopeful but purely fun, that makes you laugh. But I can’t do it, it’s hard for me.

I also like sports photography very much, because sport in general encompasses many feelings. A few years ago I liked a series of amateur portraits, also awarded in World Press Photo. And I thought: I want to do this! The portraits reflected the beautiful suffering of the fans, and the photographer had known how to see and reflect it in a wonderful way.

SO. Do you think that the legacy and the photographic canon with which we have built the memory of the 20th century corresponds to reality?

JA. No, of course not, photography and photojournalism are very hypocritical. I am not saying that they are not good and that they have not done great things but it is very hypocritical. We select a plot of what can be counted, there is no 360 degrees in anything we count. It would be necessary to establish some codes to know those situations that are photographed, since the different points of view of the different photographers towards the same photo/reality are not visible.

Photojournalism is also very Anglo-Saxon, very white and very macho. I would love to change that, and make room for all cultures, and for women. In this regard, we should be inflexible, and support women more strongly in presenting themselves to World Press Photo. I personally hate the expression “women’s point of view’. For me it’s always a photographer’s point of view. And the woman hasn’t been around until recently.

Joana Biarnés, a pioneer photojournalist in Spain, had to endure a lot in her professional career. I don’t think many male photographers are up to their moral standards….

SO. In this sense, what responsibility do you think the most prestigious international competitions such as the World Press Photo have had?

JA. They have a lot of responsibility. But little by little they are making efforts to open up paths to other cultures and increase the presence of female photojournalists.

As an advice I would recommend that they should not be so “Taliban” with the realities and societies they are looking at, that they should be much more open to Latin America, to Africa and to underdeveloped Asian societies. Photography and the diffusion of images benefit from all this, which is what I want as a photographer. I don’t want to win awards myself.

BasqueDokFestival Screenings

Photographic Social Vision collaborates with the BasqueDokFestival screening a selection of audiovisual productions of heterogeneous narratives on themes related to travel and migration, memory and identity. The screening will include works by the authors Gerard Boyer, César Dezfuli, Oscar Dhooge, Àngel García, Camilla de Maffei, Cristina Níspero, Diana Rangel, Jordi Ruiz Cirera and Pablo Tosco.

The session will also show the audiovisual pieces presenting the work by the Photographic Social Vision Education Area with the participatory photography workshops Más gente genial and Material sensible; in which social inclusion is promoted through photography as a tool for expression and transformation.

The session will take place on Sunday 3 June at 4.30 pm within the BasqueDokFestival programme.

More information here.



<< Extended exhibition >>

MUME, Museu Memorial de L’Exili
La Jonquera, Girona
¡Prorrogada hasta el 16 de setiembre de 2018!

Áctualmente el archivo Familiar Jacques Léonard, se representa y difunde desde Photographic Social Vision, aquí puedes ver como se trabaja con él.

La exposición “Evadés. 29 décembre 1943” se basa en reproducciones fotográficas del trabajo documental que Jacques Léonard realizó en diciembre de 1943 para narrar el paso por España de miles de jóvenes franceses que trataban de huir del fascismo para incorporarse a filas en el norte de África. Es uno de los poquísimos testimonios gráficos que hay de este momento histórico. Se trata de un conjunto de fotografías de un convoy de refugiados, en su mayoría franceses, que llegaron de diferentes puntos de la geografía española, primero en Madrid y finalmente en Málaga, donde embarcaron hacia África y la libertad, el 29 de diciembre de 1943.

Jacques Léonard (París, 1909 – L’Escala, 1994), hijo de un negociante de caballos de origen gitano y de la dueña de una casa de costura de París, llega tarde al mundo de la fotografía pero con un importante bagaje profesional relacionado con la imagen. Pronto se inicia en el mundo del cine trabajando en tareas de montaje y producción y colaborando con varios directores.

Viaja por todo el mundo hasta que en 1940 llega a España en busca de localizaciones para una película sobre Cristóbal Colón, que no llega a rodarse debido a la situación bélica en Europa. Conoce el director general de cinematografía, que le ofrece la oportunidad de trabajar en varios encargos y se establece en Madrid.

En 1949 se traslada a Barcelona con el empresario teatral Arthur Kaps y se convierte en su mano derecha. Poco después conoce al humorista Robert Lamouret, al que acompaña en calidad de secretario en una gira mundial. Con él viaja a Inglaterra, Australia, Grecia e Italia. Al finalizar la gira, en 1952, se establece en Barcelona donde se enamora de Rosario Amaya, una gitana que trabaja como modelo de artistas. Se casa con Rosario e inicia su actividad como fotógrafo freelance.

Su legado se compone de 18.000 negativos depositados por sus hijos en el Archivo Fotográfico de Barcelona. Tratan diversas temáticas y hay que destacar los casi 3.000 dedicados a documentar la cultura gitana.

“Jacques Léonard dejó constancia con sus fotografías (…) de la estancia en la plaza de toros de Málaga de un numeroso grupo de jóvenes que esperaban la orden para abandonar España. (…) Este grupo tenía que marchar el 26 de diciembre de 1943, al día siguiente de Navidad, y que, por circunstancias no aclaradas, la salida se aplazó hasta el día 29, lo que alargó la espera de los que se amontonaban en aquel alojamiento improvisado. (…) Las fotografías de Léonard muestran los chicos luciendo una tarjeta de identificación en la que consten su nombre y apellidos, y representan una fuente de primer orden para ilustrar la partida de refugiados desde puertos españoles. Probablemente se trata del único material gráfico conocido hasta ahora de este episodio histórico que, durante décadas, se había mantenido en el olvido en España. (…) Pocos imaginaban entonces que los puertos españoles habían facilitado el enrolamiento de miles de jóvenes en el ejército aliado. “ (Josep Calvet, Historiador)

Más información de la exposición…

In conversation > Daniella Zalcman

Daniela Zalcman

Of the 51 winners of the World Press Photo 2018 exhibition, only five are women. These are figures that can be shocking, and the easy answer would be that “the world is only seen from the eyes of male editors and photographers”. There have been contests, like this one, that have done a lot of self-criticism to change the situation in an obvious way. Even so, in this edition, the percentage has only risen from 15 to 16%. Faced with this situation, Daniella Zalcman, a photojournalist and Pulitzer Center scholar and member of the International Women’s Media Foundation (IWMF), decided to found Women Photograph. Along with Mallory Benedict, who is a photography editor at National Geographic, Zalcman is spearheading this initiative in 2017 to give voice to women visual journalists, including the trans, queer and non-binary collective. The Women Photograph database also includes 700 women photojournalists in 91 countries, and is available privately to any publisher interested in having the female vision in the world of photography.

By Paula ericsson

Paula Ericcson (PE). Only 15 percent of photojournalists are women. How does this affect to our vision of the world?

Daniella Zalcman (DE). That means that we largely are consuming news — whether about politics or entertainment or crime or sports — through a male perspective. And while there’s nothing wrong with the male perspective, it absolutely needs to be tempered with the female perspective as well. We’re fifty percent of the population, we should be telling fifty percent of the stories.

PE. You started Women Photograph to create a hiring resource for photo editors who wanted to find more women photographers with their assigning and also render excuses like I dont know where to find women,” or “I dont think about gender when I hire. How many editors had reached you since then? And from which media?

DZ. I think my audience has been largely American, given my personal background and connections within the industry (and the fact that Women Photograph is almost exclusively an English language operation), but I think there have been real conversations precipitated by Women Photograph. For editors who wanted to hire intentionally but maybe didn’t have the time or resources, I hope I made their lives a little easier, and for editors who haven’t historically believed that intentional hiring from a breadth of identities is important, well — I hope that I’ve made them think a little differently about their hiring practices.

PE. Has Women Photograph influenced in the media dinamics lately? Did it bring more diversity to the breaking news?

DZ. It’s hard for me to truly measure impact, but — I do know that dozens of photographers have received assignments because they were found through the Women Photograph site, and I do know that I’ve had conversations with a variety of photo editors who have started more conscientiously thinking about their hiring statistics. I don’t know how much we’ve impacted breaking news — the situation where photo editors have the least time possible to find and reach out to someone on the ground — but I would hope certainly that for slower assignments I’m a little nagging voice in the back of many editors’ heads now.

PE. Were living the 4th wave of feminism, specially visible in the artistic world. Why we still asking for the same things since the 60’s? What we have to do to see a real change?

DZ. Well, I don’t think we’re still asking for the same things. I don’t know that we were necessarily even discussing the importance of diversity in our storytelling communities in the 60’s (though — I wasn’t there, so I can’t be sure!) — and for sure we were unable to have honest public conversations about predatory, manipulative men. So I think there has been an incredible amount of positive change, just in the past few years. But we also still have a long way to go.

PE. Out of 51 World Press Photo 2018 nominees, 5 are women. Only the 9,8%. Which are the reasons of this invisibility?

DZ. There are so many different reasons. And they all reinforce each other and they all need to be addressed in tandem. Photo editors often disproportionately hire men, especially for physically taxing or dangerous assignments. We tend to recognize the male way of seeing as the most important, because that’s what we’ve been shown all our lives, and what we believe is most valid. So for young women coming up in the industry — trying to push back with a different vision, a different way of looking at a global issue — it’s easy for them to be sidelined. If you’re not getting work, you believe that you can’t succeed, and it’s very easy to get pushed out.

PE. Which rol can contests like World Press Photo or POY have to change this situation? Which advice would you give them to improve the women representation?

DZ. I think World Press tried very hard this year to think about how to create positive change through their contest — they did a lot of outreach to women and non-Western photographers, they brought in a jury chair who was a non-Western woman with a diverse set of judges. But there’s no instant fix here — we have to subvert decades of deeply ingrained traditions that continue to encourage us to see those images that were selected as nominees for the photo of the year as the most worthy photographs. Can a deeply meaningful image only reflect human suffering? I don’t think so — but that’s what this year’s contest tells us. If World Press hopes to change the way the photojournalism industry views photography as a storytelling tool, I’d love to see even more diversity in next year’s jury — not just in terms of identity, but in terms of professional background. Bring in some curators, some people from the fine art community, some experts who work in visual fields who think about photography in slightly different ways. People who aren’t just completely embedded in the standards and visual practices of our business.

In conversation > Daniel Beltrá, an awardwinner

© Daniel Beltrá. Paradise Threatened


Born in Madrid and based in Seattle, Daniel Beltrá is a photographer who has dedicated himself over the last 28 years to photographing different natural disasters. This year he has been awarded for his work “Amazonas: Paradise Threatened” at the World Press Photo 2018 exhibition, in the Environment category.

By Paula Ericsson

Paula Ericsson (EP). The environmental movement began to take shape when the image of the Earth taken by the crew of Apollo 8 in 1968 spread. What role has photography played since then in the fight to protect the environment?

Daniel Beltrá (DB). Nature photography has evolved a lot, and we are moving further and further away from this beautiful nature that we all like. Such images perpetrate a chimera, because what is happening in the world is not what is normally shown.

Photography is witnessing. Photographers have the opportunity and responsibility to go to places where most people don’t have access and show what’s going on. When you read the amount of plastic in the oceans this is absolutely insane. We’re not war photographers, but we do have post-traumatic stress. Despite this, I am optimistic and think that my work shows problems and spreads the word about possible solutions.

PE. Although you studied biology, you started your career as a photographer in an ETA attack in the late 1980s. How have you evolved between your first photograph and your World Press Photo 2018 winning project, “Amazon: Paradise Threatened”? What is common in the motivation between the two?

DB. When I started photography it was a hobby for me, just like nature. At first I was interested in photojournalism and at no time did I think about bringing these two passions together. I was doing day-to-day work at the Efe News Agency, and I thought I’d go talk to Greenpeace in Madrid and offer to collaborate with them. When I started this working relationship I realized what I was passionate about, and over the past two decades I’ve been lucky to be able to do what I’m really interested in, which is documenting man’s impact on the planet. A project like the one I won the World Press Photo 2018 is an accumulation of interest and many years of going to the Amazon. In fact, all those photos are from last year, but I’ve been working in Brazil since 2001.

PE. Spill is the book -and also the catalogue- published in 2011 by Photographic Social Vision and Roca Barcelona Gallery in which you show 28 photographs of oil spills in the Gulf of Mexico. Do you think its dissemination and recognition are meeting your reporting objectives?

DB. When you look at what the current administration of Donald Trump in the United States is doing, you can’t be too happy. It is very difficult to see the impact your project has, but people are becoming more and more aware. At first with Spill there were people who criticized me. “Why are you showing something so horrible in such an artistic way?” they asked me. But I am very happy with the decision I made and, many years later, I still have exhibitions in museums about the oil spill. It’s a different kind of awareness raising, more long-term.

PE. Speaking of museums…. What role do they play together with festivals and art galleries in the dissemination of your work?

DB. A huge role as they are an important window with an impressive diffusion. And deep down, when you do a job like this, it’s what you want: the more people who see it, the better they become aware of it. The World Press Photo competition will generate more than 100 exhibitions and an estimated four million visitors. The impact will be incredible.

PE. Which governments are most reluctant to show human impact on the environment? Are you trying to suppress them in any way?

DB. Environmentalism in the governments of Brazil or the United States is not booming at all. I haven’t worked a lot in the United States, but what’s happening is a real disgrace. In Brazil, hydroelectric power plants play a major role and I work incognito. There most of the deforestation is caused because in the land where the trees were, they want to plant crops to plant soybeans. Once I was working with Greenpeace in St Helena on a campaign to denounce illegal logging and burning, and when they realized what we were doing, the vigilantes began to radio the people to come and lynch us.

PE. The photographer Denis Sinyakov was imprisoned in Russia for two months, along with the whole of the crew of the Greenpeace boat Arctic Sunrise, for documenting the protest against oil drilling in the Arctic. Have you ever been threatened for doing your job?

DB. Working with Greenpeace gets you into trouble sometimes. I have not been under arrest for two months, but I have had problems, although I prefer not to delve into it: I don’t like to look like a kind of  Indiana Jones. The problems I cover seem too important to me to be adorned with my anecdotes. In the Amazon many locals are dedicated to opposing any project of dams or electric dams, and the number of deaths and threats is terrible. We photographers are privileged people.

PE. The problem with not reporting is that an uninformed society is unable to make its own decisions and, for example, to stop consuming certain products that cause major natural disasters.

DB. Exactly. When I was lucky enough to win the Prince’s Rainforest Project award from the Charles Foundation in England, they were studying the dietary impact of 100 palm oil products in the UK. The result was that sixty of them contained that ingredient. We were talking about deforestation, and part of the campaign was the link to global warming. Especially in Indonesia, where palm oil production has destroyed the forests.

PE. How do people react to your images?

DB. In general they are very well received. I remember at an exhibition a woman was looking at the photograph of the oil-covered pelicans and started to cry. And I, a fool at times, came up to her and said, “Madam, that’s not such a bad picture. And she started laughing.

PE. Do you think that portraying ecological disasters with a more artistic photograph can make the viewer more sensitive?

DB. It’s not just that it’s more artistic, it’s more abstract. Sometimes the people who see my pictures they have no idea what they are looking at, and that creates a tension, and from that tension I hope they want to go further, to find out for themselves what they’re seeing and why it’s happening.

PE. In an interview you explained that your photographs “are not natural disasters, but human disasters”. Is it difficult for us to care about the environment because we feel that we are not part of it, that it is something alien to us?

DB. Kind of. We have the possibility to adapt to many things and more and more people are living in cities: as long as you turn on the tap and water comes out, when you turn on the lights there is electricity, the telephone works and there is food in the fridge there is not too much to worry about. Much of this is a matter of education. I was lucky enough as a child to see the series by journalist Félix Rodríguez de la Fuente and, although I was born and raised in Madrid, he showed me that other world through a window. I am convinced that education will be the solution to our environmental problems.

PE. How many helicopters or airplanes have you been on during your career as a photographer? How do you get access to that kind of transportation?

DB. Less helicopters than I would like, because I take most of the pictures from light airplanes, in which I have traveled a lot. For example, Greenpeace had a small plane in the Amazon, but unfortunately they had an accident last year. In Antarctica – where I have just returned from documenting the melting Arctic ice – they rented a helicopter. When I worked in Greenland and Iceland I rented airplanes, but it is very expensive: in Greenland one hour by plane cost me $1,600 and one helicopter $4,500. It takes a lot of budget to do this job. I have been fortunate enough to work closely with Greenpeace and to take advantage of its resources, but if I had to finance it myself I would be a lot of money. Although one of my aspirations is to be able to do it.

PE. Where would you like to go that you haven’t gone yet?

DB. The Himalayan area of Nepal.

PE. What image would you like to make to help us realize that we are part of the the world we’re destroying? What projects do you have in progress or in mind for the future?

DB. I’d like to know what image that impact would have! It is a very complicated question and I cannot answer it. As future projects I aim to continue researching on global warming, in particular on melting ice, and on tropical deforestation. These are two huge issues that I have worked on for many years and I don’t see myself leaving them any time soon. I also have an almost finished book on tropical forests, but I still need to find some editors.

Interview > Silvia Omedes, all about WPP


Silvia Omedes |Foto: Imma Cortés

Interview conducted by Josep Maria Codina.

First of all, Silvia Omedes is the founder and head of Photograpic Social Vision (PSV), a non-profit organization dedicated to the promotion of photography from a wide range of perspectives for more than seventeen years and which today plays a very important role among the actors in our sector.

Among its different activities, PSV is responsible for the organization of the exhibition in which the works awarded by the World Press Photo in their different categories are exhibited every year in Barcelona. Since 2005, it has been presenting this exhibition in one of the CCCB’s halls, which has been increasing year after year with the number of visitors reaching a maximum of 50,000.

Probably the professionalism and success in Barcelona of this exhibition, which is presented every year in addition to 100 cities from 45 countries, led the competition’s organisers to propose Silvia Omedes as one of the two General Secretaries to be part of the Selection Jury this year, a position of maximum responsibility.

This has allowed her to live in first person the enriching experience of participating in the juries that value and pulse the best photojournalism works worldwide. And we want to talk to her about all of this in depth today, because it will help us learn more about how the world’s largest photojournalism contest works.

Josep Maria Cortina: Give us some data to draw the dimension and relevance of the WPP.

Silvia Omedes: The WPP was established in 1954 in Amsterdam and is now a foundation. It works in different aspects of photography promotion but the best known is, without a doubt, the organization of the annual photojournalism contest. For you tp have an idea, this year there were about six thousand photographers from 140 countries who presented about 74,000 images.

You can read the whole interview (in Catalan)  here

Photo sale > Utopia Photo Market 18

Este año la fundación se estrena con un stand en la feria de fotografía Utopia Photo Market, allí encontrarás a nuestro equipo, y podrás ver y comprar fotografías de Joana Biarnés y del Archivo Jacques Léonard, ambos autores representados por la fundación.

También tendremos a la venta la obra de 8 Fotógrafos Socios seleccionados para participar en ésta edición de la feria. Todos ellos son fotógrafos que se centran el el género documental y que usan la fotografía como medio de narración visual, sus fotografías explican siempre historias muy curiosas. ¡A finales de abril anunciaremos los fotógrafos seleccionados!

¡Si quieres que te avisemos cuando ya tengamos detalles de los fotógrafos y los eventos puedes entrar en contacto con nosotros aquí!

Book sale > Sant Jordi 2018

Fundación Photographic Social Vision durante la jornada de #SantJordi te acerca una gran selección de fotolibros y a sus fotógrafos para que puedas regalar historias inauditas a tus seres queridos. Los beneficios de las ventas se destinan a seguir impulsando proyectos de fotografía documental.
Lugar: los bonitos jardines del Palau Robert. Generalitat de Catalunya
( Pg. de Gràcia 107, 08008 Bcn )
Dia y hora: 23 de abril de 2018 de 9h a 20h.
Entrada llibre
** Fundación Photographic Social Vision una entidad sin ánimo de lucro comprometida en divulgar y potenciar el valor social de la fotografía documental y el fotoperiodismo. Entre otros proyectos organiza DOCfield Barcelona, festival fotografia documental. & World Press Photo Barcelona.

Photo sale > Joana Biarnés signed prints


Venta > Copias firmadas y numeradas de Joana Biarnés

Si quieres tener un pedacito de la historia del fotoperiodismo de este país, hazte con una de las fotografías de Joana Biarnés. Photographic Social Vision representa, asesora, cuida el archivo y lo hace accesible a coleccionistas:

– Copias en gelatina de plata
– Papel baritado con baño de selenio
– Numeradas y firmadas por la autora
– Medidas: 30×40, 40×40, 50×50, 50×60 cm.

Para más detalles o cita previa: o telf. +34 93 217 3663.