C‘it’s a way of informing and doing journalism that doesn’t need too many words: that’s what entrusts the story to the visual power of an instant. And this is precisely the path chosen by the Italian photographer, Chantal Pinziwhich today stands out as the only representative of our country among the finalists of the World Press Photo 2026recognition, considered The “Oscar Award” of world photojournalisman annual event that selects images capable of bearing witness to the most significant events and social changes on the planet.
The world through the lens of World Press Photo 2026
Being among the World Press Photo finalists means being part of a rigorous selection: This year, over 57,000 photographs submitted by nearly 4,000 image professionals were analyzed. The overall winners will be announced on April 23rdbut the selection of finalists already offers a raw and necessary insight into contemporary reality. Together with Pinzi, in fact, many other photojournalists have addressed issues of global urgency, doing their part, as underlined by the jury, and documenting a reality which must now be observed by the public so as not to be forgotten.
A global look between conflicts and new frontiers
This year’s shortlist offers a powerful insight into the crises and transformations of our time. Among the most incisive works stand out the reports that arrive from the theaters of warlike the series Sudan’s War: A Nation Trapped signed by Abdulmonam Eassa for Le Monde, or the dramatic humanitarian emergency captured by Saber Nuraldin for EPA Images) in the shot Aid Emergency in Gaza. There is no shortage of forays into less explored territories: this is the case of Paula Hornickelwhich with Emma the Social Robot documents the interaction between robots and elderly people, offering a visual reflection on artificial intelligence and care in the future. The story of the rebellion of Nepalese youth in Nepal’s Gen Z Uprising it is instead the work of Narendra Shrestha for EPA Images, while Tadeo Bourbon for Revista Mu, returns the political tensions in Milei’s Argentina. All shots, the selected ones, chosen as a compass to orient oneself in the chaos of the present.
Witnessing Gaza. (Credit: © Saher Alghorra, for The New York Times)
Chantal Pinzi’s goal: to tell the story of the strength of women beyond borders
Among these, there is the talent of Chantal Pinzian Italian photojournalist who is no stranger to international success. His career is dotted with participations in important events such as Sony World Photography Awardswhere in 2025 he triumphed in the category dedicated to sport. His work focuses on the cracks that open up in closed social systemsfollowing in the footsteps of those who, often starting from a disadvantaged position, decide to challenge the status quo. The project that took her to the final of the prestigious World Press Photo it’s called Gunpowder’s daughtersThe Daughters of Gunpowder.
Last year, the winning photo of the World Press Photo 2025 was that of Samar Abu Elouf, Palestinian photographer moved to Doha, after being evacuated from Gaza in 2023.
The daughters of gunpowder and the conquest of public space
The heart of the series is a shot taken in Morocco which portrays Ghita Jhiate, a young woman riding a horse with determination. It’s not a simple walk, though, but participation in the Tbourida, a traditional equestrian show which recalls Arab warfare techniques and ancient cavalry charges. For centuries, this discipline has been an exclusively male territory. However, Pinzi’s work documents how women are reclaiming their place in this tradition. The award jury praised the photographer’s ability to use a distinctive color palette to offer an original and encouraging portrait of these pioneers.
“Farīsāt: Gunpowder’s Daughters” is the title of the shot by the Italian photographer selected by World press photo. (Credit: © Chantal Pinzi, Panos Pictures)
A journey between resistance and silent revolutions
The Chantal Pinzi’s work moves on a track that she herself defines as “photographic activism”. This approach has led her to develop long-term projects around the world, often united under the common thread of the series Shred the patriarchy, Destroy the patriarchy. The photojournalist crosses continents, connecting apparently distant stories of emancipation: in India documented the birth of female wrestlers in rural areaswhere sport becomes a vehicle for social redemption, and followed the few skaters who challenge prejudices on roller boards. In Colombia, gave a voice to Wayuu womenan indigenous population fighting against the exploitation of mineral resources in the Guajira territory. In Germany recounted the experience of the “Moni”young activists who occupy forests to protect the environment. All shots intended as a question addressed to the observer, an invitation to understand the dynamics of oppression and the strength necessary to break them down.
The value of not looking away
While waiting for April 23rd, the day on which the names of the overall winners will be revealed, the selection of the World press photo finalists delivers a valuable lesson. Through courageous men and women, photography is confirmed as an act of civil resistance: a tool that transforms the passive observer into a conscious witness. And, in a world that often prefers to ignore complexities, documenting reality is the first step in trying to change it.
