Blackwater 3, 2008 – 2012. From the series Blackwater, 2008–1. Tintype. Photo: Sally Mann and Gagosian
Located 30 kilometres from Dakar (Senegal), Mbeubeuss is an unauthorised dump site, where each day, 350 rubbish trucks dump about 1,300 tons of household waste, from Dakar and environs. It is an ecological bomb: since its creation in 1968, the dumpsite has been growing and increasingly gaining ground, polluting surrounding waters, soils and the environment. But Mbeubeuss is also a source of income for about 1,800 people who work in and earn their living from the dump site. Photo: Fabrice Monteiro / Prix Pictet
Wildfire, 2015. From the series In The Wake, 2015–20. Dye-sublimation print. Photo: David Uzochukwu and Galerie Number 8
Wonder Beirut, The story of a Pyromaniac Photographer, 1998–2006. From the series Wonder Beirut, 1998–2006. Photographic prints. Photo: Joana Hadjithomas and Khalil Joreige, In Situ Fabienne Leclerc and The Third Line
A young girl in West Bengal, India, plays with a kerosene flame inside a poor household in rural Bengal. More than six million Indian people suffer from fire burns every year, making India the burns capital of the world. These figures are related to the close proximity of housing in many areas, as well as the overwhelming use of an open flame for light, cooking and warmth. Despite these huge numbers, there are very few burns facilities for these victims and many are condemned to a painful, constricted life if they survive at all. Photo: Brent Stirton / Prix Pictet
Khmer Rouge soldiers took control Phnom Penh. ‘Khmer Rouge troops took control and occupied the capital city of Phnom Penh on April 17, 1975. The soldiers shot into the air, which could be heard for kilometres around the city, as smoke from burning houses covered the whole city. The soldiers forced my family and all the other residents of the capital to leave to the countryside.’ 2014, from the series Left 3 Days. Inkjet print. Photo: Mak Remissa / Prix Pictet
Untitled, 2001. From the series Hanabi, 2001. C-type prints. Photo: Rinko Kawauchi / Prix Pictet
Pendant 1943/2021 (Version II), 2021. From the series Smoke, 2021. Unique silver gelatin photograph. Photo: Lisa Oppenheim and The Approach
Untitled (Burning I), 2020. From the series Fire, 2020. Digital Chromogenic print. Photo: Christian Marclay, Fraenkel Gallery and White Cube
Untitled, 2016. From the series Matter / Burn Out, 2016. Inkjet prints. Photo: Daisuke Yokota / Prix Pictet
Burnt Tree Diptych, Tujunga Wash, 2018. From the series LA Fires, 2017–20. Silver gelatin print. Photo: Mark Ruwudel, Gallery Luisotti and Large Glass
The Cloister, 2011. From the series Immolation, 2009–19. Transfer prints on Japanese paper and acrylic with stitching, metal leaf. Photo: Carla Rippey / Prix Pictet
Blackwater 3, 2008 – 2012. From the series Blackwater, 2008–1. Tintype. Photo: Sally Mann and Gagosian
Located 30 kilometres from Dakar (Senegal), Mbeubeuss is an unauthorised dump site, where each day, 350 rubbish trucks dump about 1,300 tons of household waste, from Dakar and environs. It is an ecological bomb: since its creation in 1968, the dumpsite has been growing and increasingly gaining ground, polluting surrounding waters, soils and the environment. But Mbeubeuss is also a source of income for about 1,800 people who work in and earn their living from the dump site. Photo: Fabrice Monteiro / Prix Pictet
Wildfire, 2015. From the series In The Wake, 2015–20. Dye-sublimation print. Photo: David Uzochukwu and Galerie Number 8
Wonder Beirut, The story of a Pyromaniac Photographer, 1998–2006. From the series Wonder Beirut, 1998–2006. Photographic prints. Photo: Joana Hadjithomas and Khalil Joreige, In Situ Fabienne Leclerc and The Third Line
A young girl in West Bengal, India, plays with a kerosene flame inside a poor household in rural Bengal. More than six million Indian people suffer from fire burns every year, making India the burns capital of the world. These figures are related to the close proximity of housing in many areas, as well as the overwhelming use of an open flame for light, cooking and warmth. Despite these huge numbers, there are very few burns facilities for these victims and many are condemned to a painful, constricted life if they survive at all. Photo: Brent Stirton / Prix Pictet
Khmer Rouge soldiers took control Phnom Penh. ‘Khmer Rouge troops took control and occupied the capital city of Phnom Penh on April 17, 1975. The soldiers shot into the air, which could be heard for kilometres around the city, as smoke from burning houses covered the whole city. The soldiers forced my family and all the other residents of the capital to leave to the countryside.’ 2014, from the series Left 3 Days. Inkjet print. Photo: Mak Remissa / Prix Pictet
Untitled, 2001. From the series Hanabi, 2001. C-type prints. Photo: Rinko Kawauchi / Prix Pictet
Pendant 1943/2021 (Version II), 2021. From the series Smoke, 2021. Unique silver gelatin photograph. Photo: Lisa Oppenheim and The Approach
Untitled (Burning I), 2020. From the series Fire, 2020. Digital Chromogenic print. Photo: Christian Marclay, Fraenkel Gallery and White Cube
Untitled, 2016. From the series Matter / Burn Out, 2016. Inkjet prints. Photo: Daisuke Yokota / Prix Pictet
Burnt Tree Diptych, Tujunga Wash, 2018. From the series LA Fires, 2017–20. Silver gelatin print. Photo: Mark Ruwudel, Gallery Luisotti and Large Glass
The Cloister, 2011. From the series Immolation, 2009–19. Transfer prints on Japanese paper and acrylic with stitching, metal leaf. Photo: Carla Rippey / Prix Pictet
Blackwater 3, 2008 – 2012. From the series Blackwater, 2008–1. Tintype. Photo: Sally Mann and Gagosian
The 12 Prix Pictet photography prize finalists - in pictures
