Category Archives: noticias @en

In conversation with Daniella Zalcman, de Women Photograph

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.

Photographic Social Vision interviews one of the World Press Photo 2018 winners Daniel Beltrá

© 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.

Silvia Omedes interviewed at Núvol: Everything you wanted to know about World Press Photo

 

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

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!

Venta de libros > 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.

Venta de fotos > Joana Biarnés

 

 

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: socios@photographicsocialvision.org o telf. +34 93 217 3663.

Exposición > Évadés. 23 décembre 1943

El reportaje

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 existen 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 a Madrid y finalmente a Málaga, donde embarcaron hacia África y la libertad, el 29 de diciembre de 1943.

El fotógrafo

Jacques Léonard (París, 1909-La Escala, 1994), actualmente el Archivo Familia Léonard es representado por Photographic Social Vision. 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. Francesc Català-Roca le proporciona contactos y colabora con diferentes medios: La Vanguardia, La Gaceta Ilustrada, Pomezia, publicación del Obispado de Barcelona, Sant Jordi, revista de la Diputación de Barcelona, y abre su propio laboratorio dedicado a fotografía publicitaria. Su legado se compone de 18.000 negativos depositados por sus hijos en el Arxiu Fotogràfic de Barcelona. Tratan diversas temáticas y cabe destacar los casi 3.000 dedicados a documentar la cultura gitana.

Lugar > MUME, Museu Memorial de l’Exili, La Jonquera, Girona
Fechas > 24.03.18 – 01.07.18
Inauguración > 24 marzo a las 12h

Más información aquí.

WORLD PRESS PHOTO BARCELONA 2018 Don’t miss it!

April 28th through May 27th at the CCCB Museum

World Press Photo 18, the most important exhibition in the field of photojournalism, returns to the CCCB Museum in Barcelona from April 28th to May 27th inclusive. The city is once again home to the world’s award-winning photographs, many unpublished and unpublished in national media, offering visitors the opportunity to enjoy them in the city of Barcelona. Barcelona is one of the few cities in which the winning entries in the Digital Narrative competition are also on display.

134 photographs chosen from the 73,044 images entered for the competition, taken by 4,548 photographers from 125 countries.

Don’t miss it!

Buy your general ticket or guided tour here

 

Your book signed by Joana Biarnés

¡Regala la historia inaudita de superación y talento de la primera fotoperiodista mujer del país!

Después de 30 años de olvido se recupera el archivo de Joana Biarnés, una pionera que rompió con los estereotipos de los 60’s y 70’s y se hizo un lugar en el fotoperiodismo solo ejercían hombres. Del redescubrimiento de esta fotógrafa representada por Photographic Social Vision, ha surgido un documental “Una entre todos”, varias exposiciones y un libro antológico: “Disparando con el corazón”.

Un viaje en el tiempo a través de fotografías de eventos sociales, reportajes costumistas, pasando por accidentes y catástrofes. También supo utilizar el ingenio y la empatía para conectar con la farándula nacional e internacional noticiosa de la época

¡Tu libro dedicado por Joana Biarnés, está en Photographic Social Vision! Contáctanos para hacer la compara del libro y pedir tu dedicatoria personalizada en:

  • photolover@photographicsocialvision.org o telf: 93 217 36 63

Aquí puedes ver el interior del libro

> Características técnicas

· Prólogo: Natalia Figueroa y Chema Conesa

· Páginas: 288

· Cubierta: Dura / Tela algodón

· Medidas: 18 x 24 cm

· Editorial: Blume

· Precio: 29.90 €

 

> Puntos de venta

· Fundación Photographic Social Vision, Bcn. ¡Con dedicatoria con la autora!

· Palau Robert, Bcn

· Web de la Editorial Blume

· La mayoría de librerías del país

 

> Actos de presentación

  • Sant Jordi / 23 abril 2018 / más información próximamente, déjanos tus datos aquí si quieres que te avisemos de éste y demás eventos de fotografía en Barcelona.

> Exposiciones

En Palau Robert, podrás ver su exposición antológica “Joana Biarnés. A contracorriente”
hasta  el 2 de abril de 2018. Entrada gratuita. Más información exposición aquí

Más información de la autora aquí

Fotografía bajo árbol de Navidad

¡Regala la historia inaudita de superación y talento de la primera fotoperiodista mujer del país!

Después de 30 años de olvido se recupera el archivo de Joana Biarnés, una pionera que rompió con los estereotipos de los 60’s y 70’s y se hizo un lugar en el fotoperiodismo solo ejercían hombres. Del redescubrimiento de esta fotógrafa representada por Photographic Social Vision, ha surgido un documental “Una entre todos”, varias exposiciones y un libro antológico: “Disparando con el corazón”.

Un viaje en el tiempo a través de fotografías de eventos sociales, reportajes costumistas, pasando por accidentes y catástrofes. También supo utilizar el ingenio y la empatía para conectar con la farándula nacional e internacional noticiosa de la época

¡Tu libro dedicado por Joana Biarnés, está en Photographic Social Vision! Contáctanos para hacer la compara del libro y pedir tu dedicatoria personalizada en:

  • photolover@photographicsocialvision.org o telf: 93 217 36 63

Foto: Imma Cortés

 

> Características técnicas

· Prólogo: Natalia Figueroa y Chema Conesa

· Páginas: 288

· Cubierta: Dura / Tela algodón

· Medidas: 18 x 24 cm

· Editorial: Blume

· Precio: 29.90 €

 

> Puntos de venta

· Fundación Photographic Social Vision, Bcn. ¡Con dedicatoria con la autora!

· Palau Robert, Bcn

· Web de la Editorial Blume

· La mayoría de librerías del país

 

> Actos de presentación

  • Madrid, 19/12/17 // Librería de La Fábrica // 18: 30h  Venta y presentación del libro con Chema Conesa y Joana Biarnés.

> Exposiciones

En Palau Robert, podrás ver su exposición antológica “Joana Biarnés. A contracorriente”
hasta  el 2 de abril de 2018. Entrada gratuita. Más información exposición aquí

Más información de la autora aquí