PDN's 30 2018
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’S 2018 OUR CHOIC3E OF NEW AND EMERGING PHOTOGRAPHERS TO WATCH0 Diana Zeyneb Alhindawi Sarah Blesener Ted Cavanaugh Matthew Cicanese Cody Cobb Gabriella Demczuk Kyle Dorosz Emile Ducke Kholood Eid Alina Fedorenko Johanna-Maria Fritz Julia Gartland Jennifer Garza-Cuen Matthew Genitempo Laurel Golio Brian Guido R. J. Kern Joyce Kim Daria Kobayashi Ritch Álvaro Laiz Eva O’Leary Brad Ogbonna Paola + Murray Jordi Pizarro Hannah Reyes Morales Maggie Shannon Danna Singer Daniele Volpe O P M Cole Wilson E T GENI An Rong Xu W HE TT © MA APRIL 2018 pdnonline.com 27 ’S 2018 30 © DIANA ZEYNEB ALHINDAWI EDITor’s NoTE on a new personal project work in Latin America, or in Diana be nice to people,” says Dorosz. Reading through the stories of every month for a year, which Zeyneb Alhindawi’s choice to Photojournalists Jordi Pizarro these 30 photographers, I was helped her improve as a invest her savings and move to the and Johanna-Maria Fritz address reminded of something writer photographer. Ted Cavanaugh Congo to make work. Then, too, the importance of respecting your Ta-Nehisi Coates said in an talks about the importance of there’s the other work of running a subjects by investing time with interview with The Atlantic relentlessly pursuing a body of business. Cole Wilson talks about them, or protecting them if in 2013. In talking about the work, “oftentimes without any learning as an assistant to Michael they’re vulnerable. challenging process of turning a recognition,” at the beginning of Friberg the work of “finances, When we’re looking at two- good idea into a finished work, your career. Alina Fedorenko says emails, managing clients and dimensional images, we can he said: “I strongly believe that that “always” creating new work to fighting for what you deserve.” sometimes lose sight of the physical writing is an act of courage. It’s show potential clients is crucial, There are a lot of other insights work that went into their making. almost an act of physical courage.” while Brian Guido describes here about building a photography As you read these profiles, I hope Making something—a story, a persevering through periods of low career. Joyce Kim and Daria you’ll think a bit about the effort— body of work—can be grueling, confidence. “When in doubt, keep Kobayashi Ritch talk about being and intention—that underpin the requiring repetition and refinement shooting,” he says. Danna Singer selective (when you can) about images. As Sarah Blesener notes, and the will to work with intensity. echoes this when she advocates the jobs you take so you aren’t being a professional photographer The idea applies to any creative using rejection as a motivator, stretched too thin by projects that is not about “waiting for the right pursuit, and we see evidence not a deterrent. won’t further your career in the time or the right opportunities,” of this “physical courage” in the There’s also courage evident long term. Kyle Dorosz and Brad it’s about “taking risks and stories of these photographers. in Daniele Volpe’s decision to Ogbonna emphasize the value whenever possible, taking the Laurel Golio, for instance, leave his engineering job to pursue of building a network of clients less-traveled route.” committed herself to working human rights and social justice and peers. “It’s a small world, —Conor RISCH 28 pdnonline.com APRIL 2018 ’S 2018 PDN THANks THE followING PEOPLE FOR NOMINatING PHotograpHERS FOR THE OUR CHOIC3E OF NEW AND EMERGING 2018 PDN’S 30: PHOTOGRAPHERS TO WATCH 0 ALICE GABRINER, KatHY RYAN, to SEE MORE ImagES BY The 2018 PDN’S 30 PhotograpHERS, VISIT PDNS30.COM freelance photo editor The New York ALINE SMITHSON, Times Magazine LENSCRATCH KORIN THORIG, ALYssa COPPELMAN, West Elm photo editor, consultant KRIS GravES, AMI VItalE, Kris Graves Projects photographer LAUra MOYA, Photolucida Art STREIBER, photographer LAUra PRESSLEY, CENTER ASHLEY LUMB, curator MaggIE KENNEDY, Garden & Gun ASHLYN DavIS, Houston Center MaggIE SoladaY, for Photography Open Society Foundations Asmara PELUPESSY, NOOR MARVIN HEIFERMAN, SVA BAILEY FraNKLIN, Variety MARY SNow FLEtcHER, TOBY KAUFMANN, BOB O’CONNOR, Refinery29 photographer BRENT LEWIS, MARY VIrgINIA ESPN’s The Undefeated SwaNSON, consultant BRYAN DERBALLA, photographer MICHAEL Itkoff, Daylight CHARLES TraUB, SVA MICHAEL Mack, Mack Books CHElsEA MatIasH, JAMES ESTRIN, JEFFREY MIKE DavIS, HENSON ScalES, S. I. Newhouse School, The New York Times Syracuse University CLINtoN CargILL, MONIQUE DESCHAINES, Bloomberg Businessweek EUQINOMprojects DANESE KENON, NICK HALL, The Tampa Bay Times photographer ELIZABETH KRIST, PAUL SCHIEK, freelance photo editor TBW Books GABRIEL StrombErg, PETER DICampo, Civilization Everyday Africa, photographer GREG GARRY, OUT ROSS TAYlor, HAMIdaH Glasgow, photographer Center for Fine Art Photography SAMANTHA JOHNstoN, Colorado Photographic HANNAH FRIESER AND Arts Center MIRIAM ROMAIS, Center for Photography at SaraH StackE, Woodstock photographer and writer IHIro HAYAMI, SasHA WOLF, NNA Sasha Wolf Projects O Tokyo Institute B G of Photography StaNLEY WOLUKAu- O D WANambwa, RA JacQUELINE BatES, B photographer and writer © The California Sunday Magazine Tara-LYNNE PIXLEY, PDN THANks THE SpoNSORS OF PDN’S 30 FOR THEIR SUpport OF THIS ISSUE JEFF JacobsoN, photographer AND OF THE PDN’S 30 eDUcatIONAL programs. photographer WIktorIA JEHAN JILLANI, MICHAłKIEWICZ, JENNIFER SAMUEL, curator, agent, producer MOIra HANEY, YaNCEY RICHARDSON, SaraH LEEN, Yancey Richardson National Geographic Gallery 30 pdnonline.com APRIL 2018 DANIELE VOLPE FOCUSES ON HUMAN EIGHT YEARS ago, while they were both photo assistants, Paola rights and social justice in Latin America, Ambrosi de Magistris and Murray Hall met and showed each other their but he grew up in a small town in Italy. He work. They knew immediately they would either compete against one moved to Guatemala in 2006 after he had another or collaborate. Collaboration—and love—won out. earned an engineering degree in Rome, only First, they found common ground in a “photojournalistic/reportage to find himself bored by office life. Volpe approach” to shooting. Over the years, as they built portfolios, their style left his job and volunteered in Guatemala’s became elegant and graphic. But it was hard: two creators, one end product. Western Highlands with Italian humanitarian “Getting past our egos and creating something from love and passion was organization Caritas Italiana. After two years the key to overcoming all the obstacles,” says Ambrosi de Magistris. in the countryside, he moved to Guatemala Ambrosi de Magistris assisted Andrea Gentl and Marty Hyers, who taught City. One of the first friends he made there her to “work hard, be humble, patient; love and breathe photography.” Hall was then-AP staff photographer Rodrigo Abd. says every photographer he assisted “was a mentor in some way or another.” “I did a web search and it was a great A pivotal assignment for them as a team was a Condé Nast Traveler surprise to know he was an award-winning cover story about Italy’s Dolomites. Says Ambrosi de Magistris, “Clients photojournalist. I had no experience [with] still talk to us about it. It was a candid moment; we learned that in many how to work as a photojournalist, [even] less cases those turn out to be the most authentic photographs.” in as complicated a country as Guatemala. Clients have given them opportunities to expand their repertoire. “From The friendship with Rodrigo was the the food we photograph on our travel assignments, lately we have been greatest workshop I took,” Volpe says. asked to reproduce that feeling in studio food shoots,” says Hall. “We get In 2013, The Wall Street Journal gave attention for our use of color, its vibrancy and the emotions it exudes. I think him his first assignment. He learned an we have taken this technique forward since we started photographing food.” important lesson looking at how editor Apart from a website, Instagram account, agency blog and mail blasts Julien Jourdes edited his story. “I learned… to clients, Ambrosi de Magistris says, “word of mouth has been our best how the story could get power. From then, promoter.” The lesson for anyone starting out: over-deliver. Photo editor DANIELE VOLPE I paid more attention [to editing] when I Nancy Jo Iacoi observes: “They know how to dig in and cover a project looked at colleagues’ works and exhibitions. by capturing more than what was assigned. Another important piece to AGE: 36 Freelancers often edit their own work before their success is their kindness. It’s not just how they shoot; the access BORN: Priverno, Italy pitching it to media, so this ‘discovery’ was they receive is a testament to their approach and openness.” RESIDES: Guatemala City, Guatemala really useful for me,” Volpe explains. —ANNA VAN LENTEN EDUCATION: Self-taught Since then, he has pursued personal WEBSITE: danielevolpe.com projects locally, entered awards competitions, CLIENTS: GEO, International Committee of the Red Cross, published a book and exhibited in Italy and The New York Times, Stern, UNHCR, UNICEF Guatemala. The book, Chukel, is the fruit of EXHIBITIONS: Festival della Fotografia Etica, Lodi, Italy; his long-term project about the Ixil genocide Istituto Italiano de Cultura, Guatemala City, Guatemala in Guatemala. He continues that work, but AWARDS: Foundry Photojournalism Fellowship; also spent the last two years investigating Eddie Adams Workshop; POY Latam (Photographer of the Year Latin America), 2nd Place Central America’s refugee migration and the BEST ADVICE: “I was an engineering student when I met Paolo Pellegrin in Rome. I naively asked wider crisis it has fueled in the Americas. him about how to become a photojournalist. He answered something like: ‘If you have a story to “I came here thinking it would be for a year, tell, you’ll get it.’ It was simple advice, but it still moves me to this day.