Conoce a los ganadores del Sony World Photography Awards 2016

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Lo mejor de la fotografía profesional y aficionada fue presentado por el concurso global de fotografía de Sony. La organización publicó una lista con los primeros puestos de cada categoría, y todos inspiran.

Los Sony World Photography Awards se dividen en tres categorías principales: Professional (Profesional), Open (Abierto), y Youth (Joven).

La categoría Profesional se descompone aún más en 14 categorías, de las cuales 7 son consideradas «arte» y 7 de los cuales son considerados «documental».

El sitio web del certamen tiene organizado el material de manera que se reconozcan fácilmente el primer, segundo y tercer lugar.

Esta es la fotografía del año. Le pertenece a Asghar Khamesh, quien presentó retratos impactantes de las víctimas de ataques con ácido. La serie completa no es para las personas susceptibles.

The violent act of acid throwing is primarily against women and children.  These attacks are committed with the intent to disfigure, maim and destroy the social life and future of the victim.  The motivation to commit this type of violence is cultural destitution, intolerance and happens in situations such as family conflicts, rejected marriage proposal, revenge and divorce requests. In addition physical and psychological damages, victims are faced with the experience of social stigma ,blame and social unpleasant tags.

Profesional «Arte». 

Arquitectura – Amelie Labourdette

Amelie Labourdette interrogates which is in the landscape is a priori invisible. There is always a blurred zone of concern and a landscape located below the visible landscape, another landscape that is not given at first gaze. This series of photographs, Empire of dust has been realized in south Italy, in the regions of Sicily, Calabria, Basilicata and Puglia, where financial crises and embezzlement have made of the incompleteness, an architectural aesthetics. Through this series, she tries jointly through an "archeology of the present" to reflect the contemporary history by the yardstick of these unfinished architectures, while invoking the viewer’s imagination so that there unfolds “a variant of the worldâ€. On each photographs, emanates a disquieting strangeness: unfinished villa, ghost dam or building left as skeleton, all architectures reflect a real estate disaster. Their concrete body, naked and disarmed, accuse also a premature aging, cracks overgrown by vegetation or first signs of crumbling: the ruin threatens, especially palpable, that Amelie Labourdette capture these works in a lush greenery seizing of vitality , coniferous forest erected on a mountainside, palm trees and passion fruits, tall fennels with yellow flowers. In the manner of ancient ruins, these human constructions which seem to getting back to nature, to be reabsorbed by the environment they emerged one day. Concrete skeletons of major projects remained pending, of unfinished buildings, recurring patterns of our time affected by socio-economic upheavals, become also, because of their incompleteness, interstitial spaces of indeterminacy, conducive to a photographic quest, exploring the possibilities of a singular reinvestment of the world: they are proving to be, spaces and indefinite forms that have, due to their incompleteness, a «becoming-other» that the design of the initial project had dedicated them. These indefinite forms, between upcoming ruins and potential sculptures, are drawing the figure of a strange present between dystopia and utopia, contemplating its own suspended space : a temporal interregnum between, an after the «disaster» and a revival of history that builds a new poetic area, over which hovers the specter of the end of a certain world. Captured at dusk, photographs of Amélie Labourdette are paradoxically timeless. The moment of capture stretches until become an ethereal period, creating a sense of unreality: the static light, the lack of shadows realize a shift in temporal stratification of the landscape that contains preludes the past, evidence of this, and stigma of the future. All these photographs thus form a space of imaginary speculation, inviting the viewer to weave improbable links between different referential and memory layers of history: from the school of Düsseldorf to the minimalist sculptures of the 60s, or else to the monumental interventions of Land Art, but also from the ruins of the German romantic painting to the "forward-looking ruins" of the science fiction novels, such as Earth Abides of G.R. Stewart, describing a post-human era, where nature gets over on human constructions. Is that these ruins are for Labourdette Amelie, "holes in the real", gates, ways to access time itself: in front of these, we become archaeologists of our time, we wear, in the manner of astronauts of The Planet of the Apes, a look back at our present, our future too. Suspended in a floating temporality, these landscapes reflect the depths a familiar human history, made of hubris and vanity, entropy and inevitable return to dust.

 

Profesional – Documental

Current Affairs  – Angelos Tzortzinis

 

An Afghan refugee carries his child as he arrived on a beach on the Greek island of Kos, after crossing a part of the Aegean Sea between Turkey and Greece, on May 27, 2015.

Open- Fotógrafo del Año. Kei Nomiyama, Japón.

The season of a firefly comes around in Japan at the beginning of a rainy season. This firefly is a species called Luciola parvula, and repeats blink. [Hime-HOTARU] Call a firefly in Japan. This species flies in the beautiful forest. In particular, the firefly in bamboo forest is valuable. The population of these firefly decreases every year in Japan. These may be influence by environmental destruction. This picture was taken under a little moonlight.

El fotógrafo Joven del Año-  Sam Delaware, Estados Unidos

Sarah, my sister, December 28th, 2015. After moving to a university across the country, I understood that I’d miss my family; my mother and father, and especially my sister. Like so many millions of other young adults around me, I left my family and my home this year for the first time, and in an instant, they were no longer a daily part of my life. I wanted to somehow speak to the mixed feelings I was experiencing; excitement, for the life I was about to begin, and nostalgia, for the one I was leaving behind. Traveling back to Maine for a short time allowed me to create this somewhat spontaneous image of my sister, giving me the opportunity to express this change in the best way I knew how.

 

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