“The central thing is that the images are humanising and affectionate,” says Gideon Mendel says of his series The Ward. “They are life-affirming pictures, even though everyone they focused on did sadly die within a year of me taking them.” Originally from South Africa, Gideon Mendel is a committed photojournalist who has spent much of the last 20 years raising awareness of the global HIV/AIDS crisis, publishing numerous books on the subject shot in various countries. Now, as part of the Fitzrovia Chapel’s Lineage Programme, he’s showing his first-ever work on it.
Contrasting images of children shot in Congo and in Spain, Vicente Paredes questions perceptions of wealth and happiness, freedom and self-consciousness. Pony Congo is now going on show at Espace Images Vevey; this is an update of a BJP interview first published in 2016. “You have to bear in mind that the kids in my book will never meet in real life. It is the viewer who must imagine what would happen if they were to meet. Ideas such as colonialism, misery, pity and mistrust are in our minds, not in the pictures themselves.”
“You’ll Know It When You Feel It feels rooted in a fundamental desire to understand members of her family and her immediate community – and to allow her audience to see these individuals in the same empathetic light.” Rosella has won first prize and £5000 in the inaugural PHmuseum Women Photographers Grant for a shot in her native Australia; the £2000 second prize went to Egyptian photographer Heba Khamis, whose project on breast ironing, Banned Beauty, was shot in Cameroon.
“The first time my American agent came here, she said ‘I can’t believe you do all these pictures in this little room’,” laughs Paolo Roversi as he looks around the modest space he’s used as his studio for more than three decades. The Italian remains one of the world’s most sought-after fashion photographers, having forged his reputation during the mid-1980s shooting inspired catalogues for designers such as Comme des Garçons and Yohji Yamamoto, in an age when creatives were given unparalleled freedom of expression. Yet his studio is just a room in an unremarkable building in a nondescript arrondissement of southern Paris, furnished with battered chairs and old blankets. He wouldn’t have it any other way.
“The main issues in fashion currently are gender and identity, and a more inclusive image of beauty,” says Alessia Glaviano. “It partially comes from Instagram – Instagram has made a big change.” It’s forward-thinking comment for someone known for her work on world-famous print magazine Vogue Italia, but then Glaviano’s also known for pushing the boundaries. In addition to being senior photo editor on Vogue Italia, she’s web editor of vogue.it, and she’s also responsible for PhotoVogue – a curated online platform on which emerging photographers can submit their work. And in addition she’s director of the Photo Vogue Festival, the first-ever international festival of fashion photography, which is now back for the second time in Milan. “Well it went very well last year,” she says. “So here we are again.” Then there’s Vogue Italia itself. A very different beast to its more mainstream counterparts in the US and elsewhere, it sets the standard for cutting-edge fashion photography. It’s known for its adventurous and sometimes dark imagery, giving photographers such as Steve Meisel, Miles Aldridge, Ellen von Unwerth, …
Dan Wilton wants to slow down. That’s all. The London-based photographer is best known for his intimate portraits, having shot world-famous musicians and recording artists from Stormzy to James Blake over the years. In 2015, he travelled to Los Angeles’ Runyon Canyon with writer Josh Jones to photograph and interview the characters they found there, turning the result into a book. But for his new publication Crane, he wanted to rein it back, taking a step away from the lives of others and creating something more distant, quiet and reflective.
“Really, it was only in the Snowden revelations that we realised how often these agencies don’t act in our best interest,” says Lewis Bush. “In some ways I hope that a project like this can make people think about how these abstract but very powerful forces in the world can be visualised when you find the right strategy.” He’s talking about his new project, Shadow of the State, a new photobook that investigates and exposes mysterious broadcasts dating back to the Cold War. Bush has spent the past two years seeking out the sources of these broadcasts, covert sites across the globe from North Korea and Russia to Washington and Cuba.
Sue Steward is remembered on 16 November with music and tributes at The Tabernacle, London. Even Sue, a writer who excelled in celebrating lives, might have struggled to write an obituary that unravelled the vibrant meshing of her own. She lived with ferocious energy and enthusiasm, and a genuine gift for friendship so innate that she never realised how unique it was. When Sue died recently from a brain haemorrhage, sustained in her beloved East Sussex garden, grief ricocheted through an extensive global network of friends and colleagues.
With so much to see condensed into one city over the course of five days during Paris Photo (09-12 November), you’d be tempted to skip round the 149 galleries lining the elegant, glass-topped halls of the Grand Palais in a couple of hours, or even miss the main event altogether, as many do. That would be a mistake. You won’t get a better snapshot of what constitutes saleable photography in 2017, from the blue-chip North American dealers such as Gagosian, Pace MacGill and Howard Greenberg, to the work of younger artists championed by the likes of Project 2.0, Trapéz and Taik Persons. And eavesdropping on the sales patter can be a real an eye-opener.
A prolific artist whose career spanned over 45 years, Albert Renger-Patzsch (1897–1966) was a leading pioneer of photography and of New Objectivity. Creating a new photographic realism characterised by extreme simplicity and originality, the German image-maker lead a revolution in seeing that remains influential today. Now a new retrospective at the Jeu de Paume, Paris, is celebrating his legacy by showing 154 photographs taken from the breadth of his career. Many were shot in the 1920s and 30s, or are rooted in his work from that time, and reflect an era in which industry was thriving and technology becoming widespread. “To do justice to modern technology’s rigid linear structure, to the lofty gridwork of cranes and bridges, to the dynamism of machines operating at one thousand horsepower – only photography can do that,” he wrote in an essay featured in Das Deutsche Lichtbild [The German Photograph] in 1927. “…The absolutely correct rendering of form, the subtlety of tonal gradation from the brightest light to the darkest shadow, impart to a technically expert photograph the magic of experience.” But Renger-Patzsch …