|Photo by the 2017 winner, Kevin Faingnaert|
German optics manufacturer Zeiss has opened its annual photography competition for entries, and this year it will be offering lenses to the value of €12,000 for the best collection of images. The winning photographer will also get €3,000 to spend on travel for a photography-related project.
Now in its third year, the Zeiss Awards partner with the Sony World Photography Awards. Winners get to go to the ceremony in London, and will have their work exhibited alongside the SWPA winners in the finalists show.
The theme this year is ‘Seeing Beyond – Untold Stories‘ and entrants are expected to submit between five and ten images that operate as a single series, along with a short description of the project.
Seeing Beyond – Untold Stories
Photographers are again asked to look beyond the ordinary and everyday to present judges with strong series of 5-10 images that capture an ‘untold story’. The brief is intended to be understood in its broadest sense – the work could explore a familiar theme told from a different perspective or address an issue that has previously had little attention. All forms of photography are welcome, but judges are specifically looking for series of works that have a strong narrative. The ‘untold story’ the photographer is addressing must be visually clear in the submitted image.
The competition is free to enter, and you have until February 6th, 2018 to do so. For more information, including terms and conditions, see the Zeiss Photography Awards website.
By Jim Hemphill
One of the most underrated films by one of America’s most underrated filmmakers just arrived on Blu-ray in the form of Warner Archive’s 25th-anniversary release of John Landis’ Innocent Blood. To call Landis underrated might seem perverse given that he’s directed some of the most successful and enduring movies of the late 1970s and early 1980s – National Lampoon’s Animal House, The Blues Brothers, An American Werewolf in London, Trading Places, Coming to America – but I still think his body of work has never quite gotten its critical due in this country, partly because his movies are so damn […] → continue…
From:: Filmmaker Magazine