The open call for the Dummy Award 2020 is now closed and we have received 294 applications from 37 countries.

The winner of the Landskrona Foto & Breadfield Dummy Award 2020 is Satoshi Tsuchiyama – Heat of Sand

During the Festival Satoshi Tsuchiyama is invited to make an online presentation of his photobook project. The book will be published by Breadfield Press and Landskrona Foto during 2021.


This is a story that is anything but black and white.

In Heat of Sand there is a feeling of humans reckoning with an existential threat through a physicality that only humans are capable of. It gives the sense that humans must adapt when faced with the complexities of our world; conflict and terror, environmental or political threats. Rather than giving up or escaping in fear, the nature of people is to seek ways to persist and to survive.

About the project:

Heat of Sand

Sand dance. The sun gazing viciously at the sand, and it is the heat coloring all the things. Architectures, street graffiti, the flesh of humans. Ignited and the borders melt. Lines and forms, all are fused together into one. While the cold eyes wander in-between. Heat of Sand is a series of images taken in Israel. At the end of the summer of 2017, I went to the land of Israel for the first time. After subtly yet certainly being exposed to Jewish cultural matters, I became curious about what I don’t see much in mass media, extraordinary in every day, and the movement of dancers influenced by such an environment. I walked among the burning sand, in the crater, the graffiti-filled street, and looked into the trashes in the dark. I entered into the collapsing top floor of the art school. My body followed the desire of eyes. I re-visited three more times to look for something more. Each photograph taken as such is holding the cooler mood that is relatively lower in temperature than of my emotion/passion I felt at the moments. My poetic and post-apocalyptic play with line and shapes became something mixed with my personal fantasy and nostalgia at not close, nor far from the actual journalistic chaos.

About the artist:

Born in Fukuoka, raised in Chiba Japan, Satoshi Tsuchiyama is a visual artist who uses photography, video, and installation. He attended SUNY at Buffalo for B.F.A. and the school at International Center of Photography. Along with the photographic series, he creates videos and works with contemporary dancers for collaboration projects. Currently, Tsuchiyama lives and works in Brooklyn, NY.

Honorable mentions are: 

Franziska Rieder (Germany) – 1-212-529-1432: Voice Messages from late 90s New York City 

Christopher Rodriguez (United States) – Afterlife 

Robin Hinsch (Germany) – Wahala


Rémi Faucheux is a graphic designer and publisher based in Paris. He co-founded the independent publishing house RVB BOOKS. Since its creation in 2011, RVB BOOKS has published about 100 titles, notably by Erik Kessels, Óscar Monzón, Thomas Mailaender, Taiyo Onorato & Nico Krebs, Grégoire Pujade-Lauraine, Tomoko Sawada, Stéphanie Solinas, Penelope Umbrico, among Others. RVB BOOKS receive the Paris Photo Aperture Foundation First Book Award 2013 with “Karma” by Óscar Monzón, the PhotoEspana Best International Photobook 2015, and the Paris Photo Aperture Foundation PhotoBook of the Year 2015 with “Illustrated People” by Thomas Mailaender.

Tiffany Jones is the founding publisher of Overlapse, a London-based imprint that has produced some of the most recognized and critically acclaimed photobooks on the international scene in recent years. Notable publications include Beyond Drifting: Imperfectly Known Animals by Mandy Barker (selected top 10 best photobooks of 2017 by Smithsonian Magazine; Best books of 2017 by Photo-eye; nominated for the Deutsche Börse Foundation Prize 2018), and The Disappearance of Joseph Plummer by Amani Willett (finalist for best book of the year in PHotoEspaña 2018 and selected Best books of 2017 by Photo-eye). With more than 25 years dedicated to arts publishing and photojournalism, Tiffany is an established editor, designer, researcher and educator. She was editor of fLIP magazine for London Independent Photography (2009-2014), a grassroots association of which she is an honorary lifetime member. She has been a juror for the PhotoNOLA Portfolio Award (USA), Photolucida Critical Mass competition (USA), Fiebre Photobook Dummy Award (Spain), and the International Street Photography Awards. She leads workshops on making photobooks and does portfolio reviews internationally. Tiffany has an MA in Publishing from Oxford Brookes University, researching the photobooks market. Previously she studied photojournalism in Canada and worked as an independent photographer for several years, exhibiting her own projects.

Eamonn Doyle. Born in Dublin in 1969, Eamonn studied painting and photography at college, graduating in 1991. He spent much of the next two decades producing and publishing music, during which he also founded the Dublin Electronic Arts Festival alongside the record labels D1 Recordings and Dead Elvis. He returned to photography in 2008. His debut photo-book i, 2014, was described by Martin Parr as ‘the best street photo-book in a decade’. This was followed by ON, 2015, and the award-winning End., 2016, which together with i, became known as his Dublin trilogy, culminating in a ground-breaking immersive exhibition at Rencontres d’Arles 2016. Though most of this work was produced in and around the Dublin city centre location where he has lived for over twenty years, Eamonn’s most recent body of work, K, 2018, took him to the wild Atlantic coast of Ireland and to the volcanic landscapes of Extremadura in Spain. Eamonn still lives and works where it all began, just off Parnell Street in Dublin, with the D1 Recordings studio still operating from the basement. Gallery representation: Michael Hoppen Gallery, London

Nina Strand is a photographer and writer as well as the founder and editor of Objektiv. Most recently, she published the artist’s books Residency (Subjektiv Press, 2019), STAFFET (Objektiv Press, 2017), Arbeid, Age before Beauty, Kunstnerlønn (self-published, 2016) as well as Dr. Strand in 2015. She is currently receiving a work grant from the Arts Council Norway (2012–20). Since 2007, her essays about photography are being regularly published in Dagbladet. Publications by Strand include: Residency (working title), (Subjektiv Press, 2019), STAFETT, (Objektiv Press, 2017), Arbeid, Age before Beauty, Kunstnerlønn, (self published 2016), Dr. Strand, (Journal) and exhibition 2015. New View, (self published for Høstutstillingen, 2015), (female) Artist, (self published, 2015), Solo (self published, 2015), Trollet (self published, 2014), Backstage (self published, 2014), Det fiktive forhold (self published, 2013), Nykter (Akademisk publisering, 2010), So, how do you think you’re doing? (Journal, 2008), Gutta på Gølvet (Cappelen 2004).

Jenny Lindhe has a background in fine-art photography and works as a curator and artist. She is a curator and Head of Photographs Collection at Landskrona Foto and the project manager of The Photobook Days at Landskrona Foto Festival. She is also the founder and organiser of the book prize Landskrona Foto & Breadfield Dummy Award.
Nine years ago she started her own gallery, Breadfield in Malmö.
Breadfield functions as a meeting-place for contemporary art based photography. It is also a Publishing House (Breadfield Press) which focuses foremost on the photographic sketch, the working method so to say behind the finished product.

Landskrona Foto & Breadfield Dummy Award was arranged for the first time during Landskrona Foto Festival 2015. The award aims to showcase the work of notable artists and designers from around the world and to give them a chance to realise and publish their photobook dummy.

Previous winners:

2015: Meral Güler & Dan Porter, You would be earth.
2016: Duccio Doretti, A lit candle lit the following and other
coincidences on existence.
2017: Gloria Oyarzabal, Picnos Tshombé.
2018: Pietro Paolini, Buscando a Bolívar.

Gloria Oyarzabal, winner 2017:

“When I won the Landskrona & Breadfield Dummy Award in 2017 with my project “The Picnolepsy of Tshombé” I could never in my life have imagined the doors that would eventually open before me, the international recognition of my work that I would entail and the push to my professional career that happened after. 

I started working immediately with excellent professionals, and was always very well accompanied during the “polishing” process of the future photobook. My project dealt with a complex and sensitive subject and not only the form but also the content had to be well defined. There were small important details… even the title changed to “Picnos Tshombé”.

From that moment on, the project continued to be exhibited internationally, now with the surety that comes from having won an award with as much recognition as that of Landskrona Foto Festival. Once the book was published and presented in Arles (France) I continued to gain recognition in other photography festivals, reaching with the photobook as far as Latin America! International bookshops and in my country (Spain) specialized in photobooks (or not) were interested in selling my book….. That’s exactly what I wanted!! Having my project going as far as possible and reachable to as many people as possible.

From that moment I gained confidence in my work, producing with firmness, perseverance and activism, leading me to my next project that has been recognized by several awards, including Images Vevey Photobook Award that will allow me to publish my second photobook next year. 

When you decide that your project is susceptible to be extended to book format, the best thing that can happen to you is to produce it by the hand of a good editor, designer, preprinter and print house,… but the best thing is to feel protected by the professionalism, the renown and the solidity of a good prize from a good festival and good publishing house. A luxury!!! 

To be endorsed by the recognition that this prize has given me has launched me into a wide and interesting world, has given me an international “visiting card” and has given me a name.