UPDATE – September 2026: The World Press Photo Exhibition is back in London for 2026 – and tomorrow I’ll be heading along to see it!
Last year’s exhibition made such an impression on me that I couldn’t resist returning to discover the stories behind this year’s award-winning photographs. This post is about our 2025 visit and some of the images that stayed with me long after we’d left the gallery.
I’ll be interested to see whether this year’s exhibition has the same impact..
Having been up with the lark yesterday, we decided to take things a little slower today. With pre-booked tickets in hand, we set off to visit two completely different art exhibitions in the capital.
Our first was at Here East, in London’s Queen Elizabeth Olympic Park, which we managed to navigate our way to by bus from our hotel.
Getting around London by public transport is actually fairly straightforward. Google Maps and the Citymapper app are both useful for planning journeys, payment on the buses is by contactless card, and we found the services generally clean, frequent and mostly on time. Display boards and announcements inside the buses also clearly tell you which stop is coming next – always reassuring when you don’t really know where you’re going!
If you take a look at the Here East website, you’ll find more information about this relatively new part of London, developed within Queen Elizabeth Olympic Park.
From the bus stop, we walked towards the canal before turning left past a row of restaurants to reach the MPB Gallery.
The World Press Photo Exhibition
This internationally acclaimed exhibition was a particularly good choice for us. My husband is a keen photographer, with his own photographs displayed on “Flicker”, while I’ve always enjoyed visiting photographic exhibitions.
Tickets varied in price depending on when you visited, but we booked ours online in advance for £13.50 each.
As tends to happen when we visit exhibitions, we wandered around separately, each at our own pace.
Founded in 1955, the World Press Photo Foundation has spent 70 years championing visual journalism. Its annual contest has become one of the most prestigious competitions in photojournalism and documentary photography, celebrating images that tell some of the most important stories from around the world.
But statistics and awards only tell part of the story.
As you walk around this exhibition, there is no doubt that every photograph has something to say. Behind each lens is a photojournalist who has chosen to document a moment that most of us will only ever experience through their images – sometimes working in extraordinarily difficult and dangerous circumstances.
That thought stayed with me as I walked around.
The photographs are powerful, thought-provoking and, at times, surprisingly emotional. It is extraordinary how something we might initially think of as “just a photograph” can stop us in our tracks.
Each image is accompanied by a short explanation of where and why it was taken, adding another layer to what you are seeing.

I’ve chosen three photographs that particularly affected me, alongside the overall winner of the competition. Rather than simply tell you what I thought, I’ve included a question with each one.
So now, I’m going to let the photographs do the talking…

Paths of Desperate Hope
Taken on 23 September 2022 in the Darién Gap
Luis Miguel Arias, 28, takes a break with his four-year-old daughter Melissa as they climb a hill. They are from Venezuela and were among the more than 250,000 migrants who crossed the Darién Gap in 2022.
The Darién Gap is a remote, roadless stretch of rainforest between Colombia and Panama. Migrants attempting the journey face dense jungle, rivers, steep terrain and the threat of violence and robbery.
Looking at this photograph, however, it wasn’t the scale of the migration that struck me. It was simply that this was a father and his little girl.
Do you live in a safe country with your children? How desperate would you have to be to make this journey with your four-year-old daughter?

Taken on 25 June 2024 in Mérida, Venezuela
Venezuelan opposition leader María Corina Machado greets supporters from the top of a vehicle during a campaign rally for opposition presidential candidate Edmundo González Urrutia.
Machado had won the opposition primaries in 2023 but was subsequently barred by Venezuelan authorities from standing in the presidential election. She instead backed González and became a prominent figure in his campaign.
Following the election, Venezuelan authorities declared Nicolás Maduro the winner. The opposition disputed the result, citing voting records that it said indicated a González victory, while a number of governments and international organisations called for detailed voting data to be released.
González subsequently left Venezuela, while Machado continued as a leading opposition figure.
For me, the photograph raised questions about something that is very easy to take for granted when you have always lived in a country where you can freely cast a vote.
How much do we take our own democratic freedoms for granted? And what would you do if you no longer trusted the political system in the country you called home?

Beyond the Trenches
Taken on 7 March 2024 in Borshchivka, Ukraine
Six-year-old Anhelina lies in bed in her new home. Traumatised by what she has experienced, she suffers from panic attacks after her family was forced to flee their village near Kupiansk, a frontline city in Russia’s invasion of Ukraine.
She now lives with her grandmother, Larisa, in Borshchivka, around 95 kilometres from Kupiansk, while her mother lives and works in Kharkiv.
The photographer wanted to highlight something that can easily become lost among images of bombed buildings and battlefields – the psychological effect of war on children.
And perhaps that is why this photograph affected me so much. There is no battlefield, no explosion and no visible destruction.
There is simply a six-year-old child lying in bed.
Do you live in a safe country? What would you do if conflict suddenly made your home unsafe and forced your family to leave everything behind?

World Press Photo of the Year 2025 – Mahmoud Ajjour, Aged Nine
Taken on 28 June 2024 in Doha, Qatar
Nine-year-old Mahmoud Ajjour was severely injured while fleeing an Israeli attack on Gaza City in March 2024.
As his family fled, Mahmoud turned back to urge others onwards. An explosion severed one of his arms and badly damaged the other.
His family was later evacuated to Qatar, where Mahmoud received medical treatment. He has since been learning to use his feet to play games on his phone, write and open doors.
His ambition is heartbreakingly ordinary.
He wants prosthetic arms and the opportunity to live his life like any other child.
Photographer Samar Abu Elouf is herself from Gaza and was evacuated in December 2023. Living in the same apartment complex as Mahmoud in Doha, she has documented some of the badly wounded Gazans who were able to leave for treatment.
Of all the photographs we saw that day, this was perhaps the one that needed the fewest words.
“Final Thoughts”
I came away from the World Press Photo Exhibition thinking about far more than photography.
These images took us briefly into lives very different from our own – lives affected by migration, political upheaval and war – and reminded me just how powerful photojournalism can be.
A photograph may capture only a fraction of a second, but sometimes the story behind that moment stays with you for considerably longer.
This exhibition certainly stayed with me.
And our day of art wasn’t over yet.
Our second exhibition could hardly have been more different. Next time, we’re swapping hard-hitting photojournalism for the colourful, immersive world of Frameless.
Have you ever visited a photographic exhibition that really stayed with you? I’d love to hear about it in the comments. And if you enjoyed joining us for another day exploring London, please give the post a like and subscribe to follow the next part of our trip.
















































































































