Introducing the Observer Hodge Award in association with Olympus

Ania Dabrowska didn't expect to win the 2003 Observer Hodge Photographic Award, with her eight images of 'ordinary people in ordinary moments' in post-apartheid South Africa.

'Every time you enter a competition, you place a certain amount of hope and expectation on your work,' she says. 'And with this, there was even more than usual, because I was twenty-nine, and because of the age restriction, I knew this was my only chance.

'But still, I didn't expect to win, and when Helena Christensen [supermodel turned photographer and publisher, judge on last year's panel] called me, and said 'We all really liked your work?' I was waiting for the '"but"'

When I realised there was no but, and I'd won, it was the most beautiful, exhilarating thing, like Christmas and my birthday, and just amazing.'

The Observer Hodge Photographic Award, which this year runs in association with Olympus, is now in it's nineteenth year. Established in 1986, in memory of young photographer David Hodge, who died from injuries sustained whilst documenting the Brixton Riots, its purpose is to raise the profile of young photographers, and help them break into the notoriously difficult arena of photojournalism - which is why all entrants must be younger than thirty.

In the past, it's helped launch the careers of photographers like Harriet Logan, Rip Hopkins and Jonathan Olley.

The 2004 judging panel was made up of Juergen Teller, photographer; Kate Adie, author and broadcaster; David Bailey, photographer; as well as judging regulars Roger Alton, editor of the Observer; Allan Jenkins, editor of the Observer Magazine and Greg Whitmore, picture editor at the Observer.

None of them had any preferences or restrictions on the scope and range of subject matter. This, after all, is the contest that has in the past short listed projects focusing on everything from 'women, ready to go out' (Rebecca Bradbury, winner, best student category, 1999), to the residents of a Mexican hospice (Phaedra Barratt, overall winner, 2001), to the refugees at Sangatte (Shannon Morris, third prize winner, 2002).

But this year, as ever, entrants were encouraged to present a series of eight photographs. As revered photographer and past judge Martin Parr puts it: 'The Hodge Award is the most intelligent competition, because the entrants have to enter a set. Competitions featuring single images are like presenting a novel by only entering one chapter. Photojournalism has to be about a body of work.'

In acknowledgement of the kind of achievement the Award represents, the prizes are impressive. Five cash awards are on offer, with a total value of seven thousand pounds, and all prizewinners will receive an Olympus E-1 digital camera system, and the opportunity to exhibit their entries at The Newsroom, the Guardian and Observer's archive and visitor's centre.

The first prizewinner also lands an expenses paid assignment for the Observer.

But for Ania Dabrowska, the Award was about a great deal more than the prizes. 'It was an amazing kick in the arse,' she says. 'It's a really good calling card for approaching editors, it helps them place me. As a direct result, I've got involved in a few amazing long-term projects - like documenting the work of a London charity, who are helping sex workers in the East End get off the street. It lead to my first commission for the Observer Magazine, shooting portraits of representatives of each of the ten countries entering the European Union this year.'

'What would I say to people thinking about entering?' she adds. 'Why on earth wouldn't you? It's the best thing you can do.'

The Observer Hodge Photographic Award, in association with Olympus, is open annually to any student, professional or amateur photographer based in the UK. Entrants must be aged 29 or under and submit a portfolio of up to 8 images.

View this year's winning entries.