Interview with photography critic, editor and curator Benedetta Donato

Ever since the 40th anniversary of LOBA in 2020, when a new selection process was introduced based on proposals submitted by international photography experts, Benedetta Donato has been one of the group of LOBA nominators. The series she has proposed have consistently been included on the LOBA shortlist. She also encouraged the 2024 LOBA winner Davide Monteleone to submit his work. In our series of interviews with nominators, she talks about her approach, her work and her impressions of the LOBA award ceremony in Wetzlar.

How did you first become aware of the “Critical Minerals” series?

I’ve known Davide for a long time, and I’ve always appreciated his research. The first time I saw the “Critical Minerals” series was during a contest where I was on the jury. As soon as I saw the project, I thought I would nominate it for the LOBA, because I considered it to be one of the most interesting, complex and exhaustive works on the subject being investigated.

What do you appreciate most about Davide Monteleone’s way of working?

I appreciate the evolution that Davide has achieved over time; his ability to understand the phenomena he investigates and to deepen them from several points of view. I believe that “Critical Minerals” is a testimony to this path he’s following.

In addition, the “Underneath the Calm Streets of Iran” series by Forough Alaei that you nominated is also on this year’s shortlist.

I got to know about Forough Alaei’s work through an article published in a US newspaper and I was impressed. I contacted her to see if she had a new series she was working on. So we started to correspond about her work and together we identified the series to propose for LOBA.

What does a series have to bring to the table to convince you to nominate it?

When I look at a new project, there are many elements that I take into account, such as the consistency of the work with regard to the theme. I don’t stop at the first selection that I receive, but I always ask to see a wider selection to understand the choices of the photographer. I want to know the history of the photographer, how and why he or she decided to investigate the subject. Certainly, I pay a lot of attention to the language used, the composition, the chromatic harmony. But what intrigues me most is the commitment that the photographer has given to the subject, taking the time to truly understand the reality being investigated. If all these elements are in balance, then the project can be nominated.

How did you experience the LOBA award ceremony in Wetzlar?

It was my first time in Wetzlar and it was really amazing! A magical atmosphere, full of emotions and meetings during days dedicated entirely to photography, and to creating connections between the various participants: photographers, nominators, professionals. I met all the finalists of this edition and was able to  ge to know the details of their work. I was happy to meet Karin Rehn-Kaufmann personally and admire her professionalism and passion, all the staff members and their ability to involve so many people from all over the world, and to make them feel part of such an important reality.

How do you rate the importance of LOBA and what would you wish for the future?

The topic of the “relationship between people and their environment” is a complex issue that requires the contribution of photography to be understood. Themes such as migration, inequalities, climate change and sustainable development can be made accessible and understandable through photography. Another feature that makes LOBA important is the possibility of creating a real exchange between professionals in the field, transcending geographical and cultural boundaries. It is a reciprocal exchange that is then shared with a wider audience, also through the touring exhibitions around the world. This sharing generates awareness on the great themes of our time, and I would like to see this continue, increasingly supporting the work of photographers.
 

What challenges do you see for photojournalism in general in the coming years?

The most important challenge is to be credible. Photojournalism has certainly changed, the large newspaper assignments no longer exist; there are areas where photojournalists are no longer protected and take great risks, today more than ever. The goal of photojournalism is to make real stories known, because we desperately need reality, giving voice to all the events and areas that have not yet been spoken about, or of which our vision is still too partial.
 

What motivation continues to drives you?

The thing that intrigues me today is to look at new ways of telling stories, not to dwell on the single image, but to deepen a reality and choose different topics using new media and unprecedented ways, such as collective and collaborative work involving other professionals in different parts of the world. The world of photojournalism today can count on institutions that support projects through awards, grants, fellowships and many other tools. Last but not least, continuous exchange with professionals in the field.