212: WORLD PRESS PHOTO 2025
GABY ORÁA
Can you PLEASE tell me the area code for Caracas, Venezuela?
The area code for Caracas, Venezuela is 212.
Our school educates, researches, promotes, and shares. "212" is a virtual space focused on photography based in Caracas, featuring the work of both local and non-local artists. This platform aims to bring together various photographic genres, age groups, techniques, and perspectives, all connected by a shared love for photography.
Venezuelan opposition leader María Corina Machado greets supporters from atop a vehicle during a campaign rally for the presidential candidate Edmundo González Urrutia. Mérida, Venezuela, 25 June 2024.
- You’ve just won the award so many photographers dream of — the World Press Photo 2025! Tell us, in as much detail as possible, how you captured that image. Talk to us about the anticipation it required, the location, the access, the camera, the lens, the metadata, your feelings in the moment you realized you'd captured it, who you were shooting it for, and what response you got when you submitted it. Tell us how you slept that night.
Honestly, I wasn’t aiming for a particular shot that night, and entering a contest wasn’t even on my mind. I was just focused on doing my job, moving through the chaos, staying present, and capturing the moment as authentically as possible. I was in Mérida, Venezuela, covering opposition leader María Corina Machado’s campaign for Reuters. The event was scheduled for 4 p.m. in the city center, and we had planned to arrive by 3 p.m. However, by noon, a massive crowd had already gathered in anticipation. As we entered Mérida through the páramo, people rushed out of their homes, waving flags, chanting, and running alongside the caravan to catch a glimpse of her. At first, I was just focused on keeping up. I was shooting from the back of a pickup truck ahead of her vehicle, trying to balance myself in the middle of all the movement and chaos. The amount of people was overwhelming. At one point, the streets were so packed that her car could barely move. That’s when she climbed onto the hood to greet her supporters. What should have been a short journey stretched on for hours, and we didn’t reach the final destination until nearly 10 p.m.
The title of the photo comes from a phrase I heard repeatedly throughout the journey, shouted by her followers: “María Corina, you are our last hope.”
Something about her expression in that moment stood out. Stunned, grateful, almost in disbelief. The scene was striking. The glow of cell phone lights illuminating her face, Venezuelan flags waving in the night, and hundreds of hands reaching out toward her. I had to work fast. My camera doesn’t handle high ISOs well, so I kept it at 1600. I was using a Nikon Z6 II with a 24mm f/1.8 prime lens, which allowed me to open the aperture as much as possible. I set the shutter speed to 1/160, a bit of a risk given the movement, but it was necessary to expose the scene properly in the low light. With no space to change angles, I focused on anticipating her expression, framing it against the sea of hands and lights, and pressing the shutter at just the right moment.
At times, I feel a sense of frustration, knowing that photographs can only capture a fraction of the depth of what unfolds in moments like this. That’s why it means so much to know the jury connected with this image, recognizing it as a piece of Venezuela’s history.
- Why are you a photojournalist and not a different kind of photographer?
I chose photojournalism because, for me, photography is more than just creating beautiful images, it’s about telling stories that need to be heard. It’s my way of shedding light on realities that can inspire awareness, understanding, and change. I see it as my small contribution, into making this world a better place.
- What was your safest path before deciding to become a photographer?
I studied architecture in college. I think that's probably where I developed my sense of composition in photography. Looking back, I suppose I would have more money if I had stayed in that field, but I have no doubt that I wouldn't feel as fulfilled as I do now. Photography gives me a sense of meaning.
A woman holds a candle during a vigil in honor of Venezuelans detained during protests challenging the presidential election results, in Caracas, Venezuela, on December 17, 2024.
- How did living in India from age 8 to 10 influence you?
I had a rather unique childhood, growing up in an ashram in India surrounded by people from all over the world. My friends came from different countries, and many of us didn’t even share a common language. While English was the frequent language, I also had friends who spoke Italian, French, and German. Sometimes we had to rely on gestures and improvised sign language to understand each other. It was fun, and I still keep in touch with many of them.
Growing up like this, shaped the way I see the world. It taught me to adapt, be observant, and to have a deep curiosity about people’s stories. It also helped me develop a strong sense of empathy and an appreciation for different perspectives.
- Is the world of photojournalism truly the same for a woman as it is for a man?
While the camera may be neutral, the experiences behind it often are not. Have you faced different expectations, challenges, or opportunities simply because of your gender? How has being a woman shaped your path, your access, or even the way your work is received?
We all see the world differently because we each perceive it through our own lens. Women think and process things differently than men, and that definitely impacts how we interpret situations and make decisions when covering a story. That’s why I think it’s so great and important that there are more women in the field today. It's a different perspective that deserves to be seen.
I’m probably one of the few women who would tell you there are actually some advantages to being a woman in this profession, particularly when it comes to gaining access to people. People tend to feel more secure letting a stranger into their home if it's a woman. They feel more comfortable and trusting with me because of my small size and gender, which often helps me connect with them on a deeper level. However, I’d be lying if I said there haven’t been challenges along the way. Thankfully, I’ve had the support of many friends and colleagues who have helped me.
-What has your learning process been like, and how do you challenge yourself today?
I learn every day, from every experience and every story I cover. Each person I photograph leaves me with a lesson, a feeling, or questions that push me to keep exploring and understanding the world more deeply. But if there’s one person to thank for where I am today, it’s my teacher, Leo Álvarez. He found me in the middle of the 2017 protests and encouraged me to study photography. It was through learning documentary photography with him that I truly fell in love with this profession.
I constantly challenge myself by questioning the impact of my work. Does it matter? Does it make a difference? That doubt pushes me to dig deeper, to tell stories that truly resonate. Maybe I’m naive to think it actually makes a difference, but at least I try to be a better person every day, and I hope that somehow reflects in my work.
portrait by Fabiola Ferrero
GABY ORÁA:
Caracas, 1986
Gabriela Oráa is a freelance photojournalist from Venezuela whose work focuses on political and social issues, as well as human rights violations.
She began her career in 2017 when she independently covered the Venezuelan protests, sparking a deep commitment to visual storytelling and leading her to pursue photojournalism full-time.
To further develop her skills, Oráa pursued specialized studies in documentary photography and editorial portraiture in the Roberto Mata Workshop and also studied investigative journalism. In 2020, she participated in the XXXIII Eddie Adams Workshop and won the Chris Hondros Award. She was also recognized with a World Press Photo award, and three POYI awards in 2025.
Her work has been featured in International news agencies like Reuters, Bloomberg News, El País, AFP, and Getty Images.
