Student Photo Contest 2020

grand prize, arne piepke

documentary & photojournalism

Grand Prize : Documentary & Photojournalism :

Arne Piepke

( of )

faith, custom, home

Every year from May to September, marksmen's festivals are held in the Sauerland in Germany. The three-day festivals consist of Marches through villages, church processions, as well as dances and honors. The highlight of each festival is a shooting competition to determine the new annual King. The origin of these marksmen's clubs goes back to the civil defense in the Middle Ages and their motto, "for faith, custom and home," is still written on their flags today. With few exceptions, most of these clubs and brotherhoods have strict rules, do not allow women as members and represent conservative Christian values. The citizens of small villages in Germany have a strong sense of community and a deep attachment to their home, which is shaped mainly by cultivating this tradition and their regional customs. Growing up in one of these small villages and visiting the local marksmen's festivals from childhood on has led me to reflect on my personal experiences with this tradition. From 2015 on, I visited 31 festivals in order to use photography to question the contemporary exercise of the tradition and to examine the theatre like procedure of the fest.

faith, custom, home

Every year from May to September, marksmen's festivals are held in the Sauerland in Germany. The three-day festivals consist of Marches through villages, church processions, as well as dances and honors. The highlight of each festival is a shooting competition to determine the new annual King. The origin of these marksmen's clubs goes back to the civil defense in the Middle Ages and their motto, "for faith, custom and home," is still written on their flags today. With few exceptions, most of these clubs and brotherhoods have strict rules, do not allow women as members and represent conservative Christian values. The citizens of small villages in Germany have a strong sense of community and a deep attachment to their home, which is shaped mainly by cultivating this tradition and their regional customs. Growing up in one of these small villages and visiting the local marksmen's festivals from childhood on has led me to reflect on my personal experiences with this tradition. From 2015 on, I visited 31 festivals in order to use photography to question the contemporary exercise of the tradition and to examine the theatre like procedure of the fest.

faith, custom, home

Every year from May to September, marksmen's festivals are held in the Sauerland in Germany. The three-day festivals consist of Marches through villages, church processions, as well as dances and honors. The highlight of each festival is a shooting competition to determine the new annual King. The origin of these marksmen's clubs goes back to the civil defense in the Middle Ages and their motto, "for faith, custom and home," is still written on their flags today. With few exceptions, most of these clubs and brotherhoods have strict rules, do not allow women as members and represent conservative Christian values. The citizens of small villages in Germany have a strong sense of community and a deep attachment to their home, which is shaped mainly by cultivating this tradition and their regional customs. Growing up in one of these small villages and visiting the local marksmen's festivals from childhood on has led me to reflect on my personal experiences with this tradition. From 2015 on, I visited 31 festivals in order to use photography to question the contemporary exercise of the tradition and to examine the theatre like procedure of the fest.

faith, custom, home

Every year from May to September, marksmen's festivals are held in the Sauerland in Germany. The three-day festivals consist of Marches through villages, church processions, as well as dances and honors. The highlight of each festival is a shooting competition to determine the new annual King. The origin of these marksmen's clubs goes back to the civil defense in the Middle Ages and their motto, "for faith, custom and home," is still written on their flags today. With few exceptions, most of these clubs and brotherhoods have strict rules, do not allow women as members and represent conservative Christian values. The citizens of small villages in Germany have a strong sense of community and a deep attachment to their home, which is shaped mainly by cultivating this tradition and their regional customs. Growing up in one of these small villages and visiting the local marksmen's festivals from childhood on has led me to reflect on my personal experiences with this tradition. From 2015 on, I visited 31 festivals in order to use photography to question the contemporary exercise of the tradition and to examine the theatre like procedure of the fest.

faith, custom, home

Every year from May to September, marksmen's festivals are held in the Sauerland in Germany. The three-day festivals consist of Marches through villages, church processions, as well as dances and honors. The highlight of each festival is a shooting competition to determine the new annual King. The origin of these marksmen's clubs goes back to the civil defense in the Middle Ages and their motto, "for faith, custom and home," is still written on their flags today. With few exceptions, most of these clubs and brotherhoods have strict rules, do not allow women as members and represent conservative Christian values. The citizens of small villages in Germany have a strong sense of community and a deep attachment to their home, which is shaped mainly by cultivating this tradition and their regional customs. Growing up in one of these small villages and visiting the local marksmen's festivals from childhood on has led me to reflect on my personal experiences with this tradition. From 2015 on, I visited 31 festivals in order to use photography to question the contemporary exercise of the tradition and to examine the theatre like procedure of the fest.

faith, custom, home

Every year from May to September, marksmen's festivals are held in the Sauerland in Germany. The three-day festivals consist of Marches through villages, church processions, as well as dances and honors. The highlight of each festival is a shooting competition to determine the new annual King. The origin of these marksmen's clubs goes back to the civil defense in the Middle Ages and their motto, "for faith, custom and home," is still written on their flags today. With few exceptions, most of these clubs and brotherhoods have strict rules, do not allow women as members and represent conservative Christian values. The citizens of small villages in Germany have a strong sense of community and a deep attachment to their home, which is shaped mainly by cultivating this tradition and their regional customs. Growing up in one of these small villages and visiting the local marksmen's festivals from childhood on has led me to reflect on my personal experiences with this tradition. From 2015 on, I visited 31 festivals in order to use photography to question the contemporary exercise of the tradition and to examine the theatre like procedure of the fest.

grand prize, angel chai arviv

fashion & portraiture

Grand Prize : Fashion & Portraiture :

Angel Chai Arviv

( of )

untitled

I was born in 1989, in Pardes Hana in the north of Israel. Today I am based in Tel Aviv. I love it here; this place keeps me grounded. I'm into photography since early years and it's been a long journey which started with taking simple sketches of everyday life and continued with fashion projects. I?ve tried many genres – from documentary photography to product or travel photography. Finally I found myself in fashion photography where my passions for photographing "real people", and for storytelling and aesthetics, became the most inspiring combination. Today I am in the last year of my degree at Bezalel Academy of Art and Design in Jerusalem, and I aspire to be a professional photographer.

In my work I remember all the time that everyone is important, and everyone wants their fifteen minutes of fame. It doesn't matter if the subject is a model or not, everyone wants to be remembered. When the subjects are looking at you in my photographs, I think you can see yourself in them.

Many times I find myself questioning photographic norms, whether or not it's acceptable to talk about the concept of masculinity in our time, and pushing boundaries. My work continues to document the perception of the human body as a machine of passion and sculpture in human matter.

untitled

I was born in 1989, in Pardes Hana in the north of Israel. Today I am based in Tel Aviv. I love it here; this place keeps me grounded. I'm into photography since early years and it's been a long journey which started with taking simple sketches of everyday life and continued with fashion projects. I?ve tried many genres – from documentary photography to product or travel photography. Finally I found myself in fashion photography where my passions for photographing "real people", and for storytelling and aesthetics, became the most inspiring combination. Today I am in the last year of my degree at Bezalel Academy of Art and Design in Jerusalem, and I aspire to be a professional photographer.

In my work I remember all the time that everyone is important, and everyone wants their fifteen minutes of fame. It doesn't matter if the subject is a model or not, everyone wants to be remembered. When the subjects are looking at you in my photographs, I think you can see yourself in them.

Many times I find myself questioning photographic norms, whether or not it's acceptable to talk about the concept of masculinity in our time, and pushing boundaries. My work continues to document the perception of the human body as a machine of passion and sculpture in human matter.

untitled

I was born in 1989, in Pardes Hana in the north of Israel. Today I am based in Tel Aviv. I love it here; this place keeps me grounded. I'm into photography since early years and it's been a long journey which started with taking simple sketches of everyday life and continued with fashion projects. I?ve tried many genres – from documentary photography to product or travel photography. Finally I found myself in fashion photography where my passions for photographing "real people", and for storytelling and aesthetics, became the most inspiring combination. Today I am in the last year of my degree at Bezalel Academy of Art and Design in Jerusalem, and I aspire to be a professional photographer.

In my work I remember all the time that everyone is important, and everyone wants their fifteen minutes of fame. It doesn't matter if the subject is a model or not, everyone wants to be remembered. When the subjects are looking at you in my photographs, I think you can see yourself in them.

Many times I find myself questioning photographic norms, whether or not it's acceptable to talk about the concept of masculinity in our time, and pushing boundaries. My work continues to document the perception of the human body as a machine of passion and sculpture in human matter.

untitled

I was born in 1989, in Pardes Hana in the north of Israel. Today I am based in Tel Aviv. I love it here; this place keeps me grounded. I'm into photography since early years and it's been a long journey which started with taking simple sketches of everyday life and continued with fashion projects. I?ve tried many genres – from documentary photography to product or travel photography. Finally I found myself in fashion photography where my passions for photographing "real people", and for storytelling and aesthetics, became the most inspiring combination. Today I am in the last year of my degree at Bezalel Academy of Art and Design in Jerusalem, and I aspire to be a professional photographer.

In my work I remember all the time that everyone is important, and everyone wants their fifteen minutes of fame. It doesn't matter if the subject is a model or not, everyone wants to be remembered. When the subjects are looking at you in my photographs, I think you can see yourself in them.

Many times I find myself questioning photographic norms, whether or not it's acceptable to talk about the concept of masculinity in our time, and pushing boundaries. My work continues to document the perception of the human body as a machine of passion and sculpture in human matter.

untitled

I was born in 1989, in Pardes Hana in the north of Israel. Today I am based in Tel Aviv. I love it here; this place keeps me grounded. I'm into photography since early years and it's been a long journey which started with taking simple sketches of everyday life and continued with fashion projects. I?ve tried many genres – from documentary photography to product or travel photography. Finally I found myself in fashion photography where my passions for photographing "real people", and for storytelling and aesthetics, became the most inspiring combination. Today I am in the last year of my degree at Bezalel Academy of Art and Design in Jerusalem, and I aspire to be a professional photographer.

In my work I remember all the time that everyone is important, and everyone wants their fifteen minutes of fame. It doesn't matter if the subject is a model or not, everyone wants to be remembered. When the subjects are looking at you in my photographs, I think you can see yourself in them.

Many times I find myself questioning photographic norms, whether or not it's acceptable to talk about the concept of masculinity in our time, and pushing boundaries. My work continues to document the perception of the human body as a machine of passion and sculpture in human matter.

untitled

I was born in 1989, in Pardes Hana in the north of Israel. Today I am based in Tel Aviv. I love it here; this place keeps me grounded. I'm into photography since early years and it's been a long journey which started with taking simple sketches of everyday life and continued with fashion projects. I?ve tried many genres – from documentary photography to product or travel photography. Finally I found myself in fashion photography where my passions for photographing "real people", and for storytelling and aesthetics, became the most inspiring combination. Today I am in the last year of my degree at Bezalel Academy of Art and Design in Jerusalem, and I aspire to be a professional photographer.

In my work I remember all the time that everyone is important, and everyone wants their fifteen minutes of fame. It doesn't matter if the subject is a model or not, everyone wants to be remembered. When the subjects are looking at you in my photographs, I think you can see yourself in them.

Many times I find myself questioning photographic norms, whether or not it's acceptable to talk about the concept of masculinity in our time, and pushing boundaries. My work continues to document the perception of the human body as a machine of passion and sculpture in human matter.

grand prize, carol record

fine art & personal work

Grand Prize : Fine Art & Personal Work :

Carol Record

( of )

#metoo

The #MeToo movement, which went viral in October 2017, prompted me to reexamine and reprocess my own personal history with sexual assault and harassment.

From 1996 to 1998, between the ages of 13 and 15, I was raped and manipulated by my stepfather, a man I had grown to love and trust like my own father. This series revisits family photographs from this time period, documenting my turbulent state of mind and expressing what I was unable to fully process in the moment. Through the addition and subtraction of various elements, the images reveal the extent of the trauma and begin to more accurately illustrate my life and psyche during this chaotic nightmare. 
Working both digitally and physically allows me to create layers of separation and an emotional buffer between myself and the memories. Using the laptopogram process, family photos, legal documents and diary entries were scanned, digitally manipulated, and then exposed to silver gelatin paper via a laptop monitor in the darkroom. The resulting images were then developed and rescanned to create new images that could not have been made through digital means alone.

This workflow allows me to both mentally and physically process my thoughts, exorcising the demons from my past by physically channeling long-held feelings of anger, grief and frustration into the development of the image. The solitude and focus during the practice allow me to reflect upon this turbulent period of my life now that I am no longer inside it.

#metoo

The #MeToo movement, which went viral in October 2017, prompted me to reexamine and reprocess my own personal history with sexual assault and harassment.

From 1996 to 1998, between the ages of 13 and 15, I was raped and manipulated by my stepfather, a man I had grown to love and trust like my own father. This series revisits family photographs from this time period, documenting my turbulent state of mind and expressing what I was unable to fully process in the moment. Through the addition and subtraction of various elements, the images reveal the extent of the trauma and begin to more accurately illustrate my life and psyche during this chaotic nightmare. 
Working both digitally and physically allows me to create layers of separation and an emotional buffer between myself and the memories. Using the laptopogram process, family photos, legal documents and diary entries were scanned, digitally manipulated, and then exposed to silver gelatin paper via a laptop monitor in the darkroom. The resulting images were then developed and rescanned to create new images that could not have been made through digital means alone.

This workflow allows me to both mentally and physically process my thoughts, exorcising the demons from my past by physically channeling long-held feelings of anger, grief and frustration into the development of the image. The solitude and focus during the practice allow me to reflect upon this turbulent period of my life now that I am no longer inside it.

#metoo

The #MeToo movement, which went viral in October 2017, prompted me to reexamine and reprocess my own personal history with sexual assault and harassment.

From 1996 to 1998, between the ages of 13 and 15, I was raped and manipulated by my stepfather, a man I had grown to love and trust like my own father. This series revisits family photographs from this time period, documenting my turbulent state of mind and expressing what I was unable to fully process in the moment. Through the addition and subtraction of various elements, the images reveal the extent of the trauma and begin to more accurately illustrate my life and psyche during this chaotic nightmare. 
Working both digitally and physically allows me to create layers of separation and an emotional buffer between myself and the memories. Using the laptopogram process, family photos, legal documents and diary entries were scanned, digitally manipulated, and then exposed to silver gelatin paper via a laptop monitor in the darkroom. The resulting images were then developed and rescanned to create new images that could not have been made through digital means alone.

This workflow allows me to both mentally and physically process my thoughts, exorcising the demons from my past by physically channeling long-held feelings of anger, grief and frustration into the development of the image. The solitude and focus during the practice allow me to reflect upon this turbulent period of my life now that I am no longer inside it.

#metoo

The #MeToo movement, which went viral in October 2017, prompted me to reexamine and reprocess my own personal history with sexual assault and harassment.

From 1996 to 1998, between the ages of 13 and 15, I was raped and manipulated by my stepfather, a man I had grown to love and trust like my own father. This series revisits family photographs from this time period, documenting my turbulent state of mind and expressing what I was unable to fully process in the moment. Through the addition and subtraction of various elements, the images reveal the extent of the trauma and begin to more accurately illustrate my life and psyche during this chaotic nightmare. 
Working both digitally and physically allows me to create layers of separation and an emotional buffer between myself and the memories. Using the laptopogram process, family photos, legal documents and diary entries were scanned, digitally manipulated, and then exposed to silver gelatin paper via a laptop monitor in the darkroom. The resulting images were then developed and rescanned to create new images that could not have been made through digital means alone.

This workflow allows me to both mentally and physically process my thoughts, exorcising the demons from my past by physically channeling long-held feelings of anger, grief and frustration into the development of the image. The solitude and focus during the practice allow me to reflect upon this turbulent period of my life now that I am no longer inside it.

#metoo

The #MeToo movement, which went viral in October 2017, prompted me to reexamine and reprocess my own personal history with sexual assault and harassment.

From 1996 to 1998, between the ages of 13 and 15, I was raped and manipulated by my stepfather, a man I had grown to love and trust like my own father. This series revisits family photographs from this time period, documenting my turbulent state of mind and expressing what I was unable to fully process in the moment. Through the addition and subtraction of various elements, the images reveal the extent of the trauma and begin to more accurately illustrate my life and psyche during this chaotic nightmare. 
Working both digitally and physically allows me to create layers of separation and an emotional buffer between myself and the memories. Using the laptopogram process, family photos, legal documents and diary entries were scanned, digitally manipulated, and then exposed to silver gelatin paper via a laptop monitor in the darkroom. The resulting images were then developed and rescanned to create new images that could not have been made through digital means alone.

This workflow allows me to both mentally and physically process my thoughts, exorcising the demons from my past by physically channeling long-held feelings of anger, grief and frustration into the development of the image. The solitude and focus during the practice allow me to reflect upon this turbulent period of my life now that I am no longer inside it.

grand prize, losany doumbouya

high school (any subject)

grand prize, zuzanna rabikowska

multimedia & video

Grand Prize : Multimedia & Video :

Zuzanna Rabikowska

( of )

citizens of nowhere

"Citizens of Nowhere" is a project about the experience of citizenship, nationality and identity on a political, cultural and social level. The project is a personal response to the 2016 Brexit referendum, which saw 51.9 percent of the British population vote to leave the European Union. I was born in Poland and moved to the UK as a child with my mother and sister in 2001. The Brexit referendum was the first time I became aware of my "otherness" and "un-Britishness," as I was unable to vote.

The project is an animation created from medium-format and 35mm analogue portraits. I shot portraits of myself, my sister and my mother in our family home in London. I imprinted the journey of migration into the physicality of the image by soaking the film rolls in English Channel saltwater. This results in different degrees of distortion, which visually mimics the required process of "naturalization" and the degree of erosion of immigrant identity. I also used a process known as "red scale," in which color negative film is loaded "backwards" and the images are shot through the protective semi-transparent layer on the back, resulting in reddish-orange filter. Through this process I explore my own feeling of "un-belonging" within the British culture and society.

Displacement underpins any migration journey and to incorporate further movement in my work I printed out the analogue portraits and created a stop-motion animation. As a result, the portraits of myself and my family are in constant flux, forever changing and adapting, like our immigrant identity in the UK.

grand prize, pratik parulekar

still life

grand prize, itamar dotan katz

travel & landscape

Grand Prize : Travel & Landscape :

Itamar Dotan Katz

( of )

vacated vacation

Whether it was caused by the wave of terror attacks (2004), the Tahrir Square uprising (2011) or various economic considerations, this once-promising tourist area has turned into a graveyard of hotels. These enormous monuments have been abandoned and now stand as silent memorials to what might have been.
The south-side of the Sinai peninsula is beautiful, unlike any other landscape, as unique and as barren as Luke Skywalker's home planet. Its dramatic red mountains tumble down into a turquoise ocean, which is filled with colorful aquatic life. Scattered on the beach are some very low-cost guest houses in the form of straw huts. Only a handful are occupied by those "brave" enough to visit Sinai. The land itself is inhabited mostly by Bedouin tribes and the Egyptian army. But what looks like a heavenly resort area is almost completely deserted, filled only with traces of humans. Some of those resorts are in a fully operational state, with beds in the rooms and running water in the sink; others are in different stages of construction—but all are empty.

Over the past three years I have been documenting these resorts to show the wastefulness of men, the consequences of conflict and economy, and how present humans can be without being present at all. This is an ongoing project and the aim is to present it as a mock "travel guide to abandoned hotels."

vacated vacation

Whether it was caused by the wave of terror attacks (2004), the Tahrir Square uprising (2011) or various economic considerations, this once-promising tourist area has turned into a graveyard of hotels. These enormous monuments have been abandoned and now stand as silent memorials to what might have been.
The south-side of the Sinai peninsula is beautiful, unlike any other landscape, as unique and as barren as Luke Skywalker's home planet. Its dramatic red mountains tumble down into a turquoise ocean, which is filled with colorful aquatic life. Scattered on the beach are some very low-cost guest houses in the form of straw huts. Only a handful are occupied by those "brave" enough to visit Sinai. The land itself is inhabited mostly by Bedouin tribes and the Egyptian army. But what looks like a heavenly resort area is almost completely deserted, filled only with traces of humans. Some of those resorts are in a fully operational state, with beds in the rooms and running water in the sink; others are in different stages of construction—but all are empty.

Over the past three years I have been documenting these resorts to show the wastefulness of men, the consequences of conflict and economy, and how present humans can be without being present at all. This is an ongoing project and the aim is to present it as a mock "travel guide to abandoned hotels."

vacated vacation

Whether it was caused by the wave of terror attacks (2004), the Tahrir Square uprising (2011) or various economic considerations, this once-promising tourist area has turned into a graveyard of hotels. These enormous monuments have been abandoned and now stand as silent memorials to what might have been.
The south-side of the Sinai peninsula is beautiful, unlike any other landscape, as unique and as barren as Luke Skywalker's home planet. Its dramatic red mountains tumble down into a turquoise ocean, which is filled with colorful aquatic life. Scattered on the beach are some very low-cost guest houses in the form of straw huts. Only a handful are occupied by those "brave" enough to visit Sinai. The land itself is inhabited mostly by Bedouin tribes and the Egyptian army. But what looks like a heavenly resort area is almost completely deserted, filled only with traces of humans. Some of those resorts are in a fully operational state, with beds in the rooms and running water in the sink; others are in different stages of construction—but all are empty.

Over the past three years I have been documenting these resorts to show the wastefulness of men, the consequences of conflict and economy, and how present humans can be without being present at all. This is an ongoing project and the aim is to present it as a mock "travel guide to abandoned hotels."

vacated vacation

Whether it was caused by the wave of terror attacks (2004), the Tahrir Square uprising (2011) or various economic considerations, this once-promising tourist area has turned into a graveyard of hotels. These enormous monuments have been abandoned and now stand as silent memorials to what might have been.
The south-side of the Sinai peninsula is beautiful, unlike any other landscape, as unique and as barren as Luke Skywalker's home planet. Its dramatic red mountains tumble down into a turquoise ocean, which is filled with colorful aquatic life. Scattered on the beach are some very low-cost guest houses in the form of straw huts. Only a handful are occupied by those "brave" enough to visit Sinai. The land itself is inhabited mostly by Bedouin tribes and the Egyptian army. But what looks like a heavenly resort area is almost completely deserted, filled only with traces of humans. Some of those resorts are in a fully operational state, with beds in the rooms and running water in the sink; others are in different stages of construction—but all are empty.

Over the past three years I have been documenting these resorts to show the wastefulness of men, the consequences of conflict and economy, and how present humans can be without being present at all. This is an ongoing project and the aim is to present it as a mock "travel guide to abandoned hotels."

vacated vacation

Whether it was caused by the wave of terror attacks (2004), the Tahrir Square uprising (2011) or various economic considerations, this once-promising tourist area has turned into a graveyard of hotels. These enormous monuments have been abandoned and now stand as silent memorials to what might have been.
The south-side of the Sinai peninsula is beautiful, unlike any other landscape, as unique and as barren as Luke Skywalker's home planet. Its dramatic red mountains tumble down into a turquoise ocean, which is filled with colorful aquatic life. Scattered on the beach are some very low-cost guest houses in the form of straw huts. Only a handful are occupied by those "brave" enough to visit Sinai. The land itself is inhabited mostly by Bedouin tribes and the Egyptian army. But what looks like a heavenly resort area is almost completely deserted, filled only with traces of humans. Some of those resorts are in a fully operational state, with beds in the rooms and running water in the sink; others are in different stages of construction—but all are empty.

Over the past three years I have been documenting these resorts to show the wastefulness of men, the consequences of conflict and economy, and how present humans can be without being present at all. This is an ongoing project and the aim is to present it as a mock "travel guide to abandoned hotels."

honorable mention, nathaniel bailey

documentary & photojournalism

Honorable Mention : Documentary & Photojournalism :

Nathaniel Bailey

( of )

abood

In April 2018, eleven-year-old Abdelrahman Nofal (Abood) of Gaza lost his leg to an Israeli soldier's bullet as he played soccer near the border. In August 2018, he came to the U.S. for treatment, where he recovered both physically and emotionally. While here, he found a community, forming strong bonds and intimate friendships with many of the people he came into contact with before he returned to Gaza with his prosthesis.

abood

In April 2018, eleven-year-old Abdelrahman Nofal (Abood) of Gaza lost his leg to an Israeli soldier's bullet as he played soccer near the border. In August 2018, he came to the U.S. for treatment, where he recovered both physically and emotionally. While here, he found a community, forming strong bonds and intimate friendships with many of the people he came into contact with before he returned to Gaza with his prosthesis.

abood

In April 2018, eleven-year-old Abdelrahman Nofal (Abood) of Gaza lost his leg to an Israeli soldier's bullet as he played soccer near the border. In August 2018, he came to the U.S. for treatment, where he recovered both physically and emotionally. While here, he found a community, forming strong bonds and intimate friendships with many of the people he came into contact with before he returned to Gaza with his prosthesis.

abood

In April 2018, eleven-year-old Abdelrahman Nofal (Abood) of Gaza lost his leg to an Israeli soldier's bullet as he played soccer near the border. In August 2018, he came to the U.S. for treatment, where he recovered both physically and emotionally. While here, he found a community, forming strong bonds and intimate friendships with many of the people he came into contact with before he returned to Gaza with his prosthesis.

abood

In April 2018, eleven-year-old Abdelrahman Nofal (Abood) of Gaza lost his leg to an Israeli soldier's bullet as he played soccer near the border. In August 2018, he came to the U.S. for treatment, where he recovered both physically and emotionally. While here, he found a community, forming strong bonds and intimate friendships with many of the people he came into contact with before he returned to Gaza with his prosthesis.

abood

In April 2018, eleven-year-old Abdelrahman Nofal (Abood) of Gaza lost his leg to an Israeli soldier's bullet as he played soccer near the border. In August 2018, he came to the U.S. for treatment, where he recovered both physically and emotionally. While here, he found a community, forming strong bonds and intimate friendships with many of the people he came into contact with before he returned to Gaza with his prosthesis.

honorable mention, ney mila

fashion & portraiture

honorable mention, sadie cook

fine art & personal work

Honorable Mention : Fine Art & Personal Work :

Sadie Cook

( of )

untangle

I want to hold onto my body. I want to understand all its sides and parts. I'm just starting to understand how tangled up desire and photography and power and gender are. Figuring out how to negotiate this tangle, especially as a young, queer girl, feels urgent and exciting and frightening. I take pictures incessantly. I photograph the women around me and the act of touch and myself.

I think about language a lot. I want looking at my photographs to feel like when an acquaintance stops me on the street to say hi and ask how I am doing, and I take a deep breath and I say everything I?m really feeling and thinking with all the stammers and stutters and half-said sentences.

untangle

I want to hold onto my body. I want to understand all its sides and parts. I'm just starting to understand how tangled up desire and photography and power and gender are. Figuring out how to negotiate this tangle, especially as a young, queer girl, feels urgent and exciting and frightening. I take pictures incessantly. I photograph the women around me and the act of touch and myself.

I think about language a lot. I want looking at my photographs to feel like when an acquaintance stops me on the street to say hi and ask how I am doing, and I take a deep breath and I say everything I?m really feeling and thinking with all the stammers and stutters and half-said sentences.

untangle

I want to hold onto my body. I want to understand all its sides and parts. I'm just starting to understand how tangled up desire and photography and power and gender are. Figuring out how to negotiate this tangle, especially as a young, queer girl, feels urgent and exciting and frightening. I take pictures incessantly. I photograph the women around me and the act of touch and myself.

I think about language a lot. I want looking at my photographs to feel like when an acquaintance stops me on the street to say hi and ask how I am doing, and I take a deep breath and I say everything I?m really feeling and thinking with all the stammers and stutters and half-said sentences.

untangle

I want to hold onto my body. I want to understand all its sides and parts. I'm just starting to understand how tangled up desire and photography and power and gender are. Figuring out how to negotiate this tangle, especially as a young, queer girl, feels urgent and exciting and frightening. I take pictures incessantly. I photograph the women around me and the act of touch and myself.

I think about language a lot. I want looking at my photographs to feel like when an acquaintance stops me on the street to say hi and ask how I am doing, and I take a deep breath and I say everything I?m really feeling and thinking with all the stammers and stutters and half-said sentences.

untangle

I want to hold onto my body. I want to understand all its sides and parts. I'm just starting to understand how tangled up desire and photography and power and gender are. Figuring out how to negotiate this tangle, especially as a young, queer girl, feels urgent and exciting and frightening. I take pictures incessantly. I photograph the women around me and the act of touch and myself.

I think about language a lot. I want looking at my photographs to feel like when an acquaintance stops me on the street to say hi and ask how I am doing, and I take a deep breath and I say everything I?m really feeling and thinking with all the stammers and stutters and half-said sentences.

untangle

I want to hold onto my body. I want to understand all its sides and parts. I'm just starting to understand how tangled up desire and photography and power and gender are. Figuring out how to negotiate this tangle, especially as a young, queer girl, feels urgent and exciting and frightening. I take pictures incessantly. I photograph the women around me and the act of touch and myself.

I think about language a lot. I want looking at my photographs to feel like when an acquaintance stops me on the street to say hi and ask how I am doing, and I take a deep breath and I say everything I?m really feeling and thinking with all the stammers and stutters and half-said sentences.

honorable mention, jack bober

high school (any subject)

Honorable Mention : High School (Any Subject) :

Jack Bober

( of )

bw surf