For Lisa van Casand, photography provides carte blanche to investigate places and people she would otherwise not have access. Her projects often revolve around waarheidsvinding, a peculiarly Dutch term best – if imprecisely – translated as ‘truth-finding’, an interest she attributes to her upbringing. “I grew up with people around me that had quite a variety of strong beliefs,” says the 26-year-old from Eindhoven. “Which is not necessarily a bad thing in itself but it did confuse me at a young age – how people could believe so strongly in opposite things?” Though interested in the idea of photography as evidence and document, it was the fallacy of the tools we use to order reality, and the limitations of seeing, that she often reflects on in her research-led projects. “I am drawn to things that are shrouded in mystery. The bigger the impossibility of reaching the object of investigation, the better,”says the final-year student at the Royal Academy of Art in The Hague. Clarity and knowledge are not the desired outcomes of her research: it’s the …
Since graduating from the documentary photography course at the University of South Wales last year, Lua Ribeira has gone from strength to strength. In addition to the Firecracker Grant, which she was awarded in 2015 while still a student, her work was recently selected by Susan Meiselas to appear in Raw View magazine’s Women Looking at Women issue. She is also making a name for herself commercially and with editorial clients such as Wired; her images have been shown at international festivals, including Photo España in 2014 and Gazebook Festival in 2015, and she has also been awarded a Jerwood Photoworks Grant for future projects in 2018. Thus far, Ribeira is best known for Noises in the Blood, an ongoing investigation into Jamaican dancehall culture,
Born in Paris to parents from Guadeloupe and living in Miami and St Maarten before settling in Los Angeles, twin brothers Jalan and Jibril Durimel draw on a geographically diverse upbringing to create a new wave of fashion photography. “We’re not necessarily ‘cultured’ but we saw a bit more of what the world had to offer,” they say, adding: “more understanding of the intersections of life, is something we’d like to suggest – more exchange between nations – in our future work”.
British Journal of Photography has inked a new co-production deal with Fullbleed.tv, the online film channel dedicated to contemporary photography.
Born in 1983, Emmanuelle Andrianjafy grew up in Madagascar and worked as an engineer in France before moving to Dakar in 2011. Relocation to Senegal proved quite a shock. “It’s very energetic, very hectic, very loud,” she told BJP for the June Ones to Watch issue. “It’s very different to where I’ve lived before. It’s by the sea but it’s not peaceful; the landscape is harsh and dry. I was tempted to not deal with it and just stay at home.”
In our third annual edition focusing on photography education, BJP visits schools around the world to discover what it takes to “see photographically”. From one of the oldest photography schools in the UK, to pioneering institutions in Germany and Denmark, tutors stress the need to appreciate the mechanics of a photograph – light, shape, space and perspective. “Our bodies learn to adapt to the camera that is shaping our experience,” explains Thomas Sandberg, photographer and co-founder of the Ostkreuz School for Photography in Berlin.
Taking a new approach to documentary photography after a near-death experience in Libya, Guy Martin captured Turkey’s fantasies and created a series now on show at Arles. “To not learn from that event in April 2011, I couldn’t do that to myself,” he says. “I couldn’t justify it to my family, I couldn’t be put in that same situation again. The starting point was to take control of my photography, to use my photography instead of letting it use me.”
Karen Paulina Biswell spent much of her upbringing in Paris, having moved there with her parents when barely a teen in the early 1990s to escape the political unrest and violent clashes plaguing her native Colombia. She now lives back in Colombia, and her provocative project on strong women is going on show at Les Rencontres d’Arles
The Promise is book two in Vasantha Yogananthan’s ambitious seven-book project, A Myth of Two Souls. Inspired by the epic story The Ramayana, which was written by the Sanskrit poet Valmiki in around 300 BC, The Myth will retrace The Ramayana’s route from North to South India, and show scenes from everyday life that evoke its imagery. Yogananthan is producing one book for each chapter of the original story; he started the project with a book called Early Times, which helped him win the ICP Infinity Award Emerging Photographer of the Year. Book two, The Promise, has been nominated for the 2017 Author Book Award at Les Rencontres d’Arles (along with image-makers such as Antoine Agata, JH Engstrom, and Roe Ethridge). Throughout The Myth, Yogananthan is working with three different types of image – landscapes, hand-painted staged portraits, and illustrated black-and-white photographs. The hand-painting is done on large-format black-and-white photographs by Indian artist Jaykumar Shankar. In the illustrated photographs, he has been working with two artists specialising in the tradition of Madhubani painting. “In Yogananthan’s hands, The Ramayana story becomes a …
Nadine Ijewere has been interested in fashion imagery since she was a girl but it wasn’t until she studied photography at the London College of Fashion that she began to pick up on some of its more unsettling undertones – particularly the stereotypes used in the portrayal of non-Western cultures. The Misrepresentation of Representation, an early project that she completed at university reflected on Orientalism and how it came to rigidly define certain cultures for a Western audience.