In 2017, Brian Griffin was invited to undertake an artist’s residency in Béthune-Bruay, northern France. Griffin, who is one of the most prominent British photographers of his generation, was initially selected because of the links between this region and his native Black Country, Midlands – both in terms of landscape and industrial heritage. But Griffin soon had other ideas, drawn from the fact that Béthune-Bruay was just ten miles from the Western Front during World War One. “I’m just a basic Black Country boy and I do make some obvious decisions, which do many times turn out to be fruitful,” he says. “So I decided to focus on the First World War.”
This “photographer’s photographer” is known for his measured understatement and his influential books, such as The Pond (1985) and Berlin in the Time of the Wall (2004). His latest, Looking Up Ben James – A Fable, will soon be published by Steidl, and he’s currently working on his next, The Last Days of Fontainebleau, shot in his hometown, Washington DC
Photographs of women prisoners typically depict them in their cells, behind bars, their femininity stripped away. In contrast to this, French photographer Bettina Rheims has made a series of studio-like portraits of women in four jails across France, images that seek to restore and capture the feminine aspect of their identity. Titled Détenues [Detained], the series comprises 68 frontal portraits shot against white walls in Autumn 2014, and is currently on show in the chapel of Château de Vincennes – a former royal castle near Paris, that housed ‘women of ill repute’ in the 18th and 19th centuries. The exhibition is accompanied by a book, published by Gallimard.
“I was not surprised at all at being arrested,” Çağdaş Erdoğan tells BJP. “It’s enough to say that as we speak there are still 170 reporters in prison in Turkey.”
The 26-year-old only recently regained his freedom, after being arrested on 02 September 2017 for taking photographs in Yoğurtçu Park. Officially he was taken into custody for photographing the Millî İstihbarat Teşkilatı (MİT) building, the home of Turkey’s answer to MI5, the National Intelligence Organisation. “But it is entirely fictitious,” he tells BJP, “because the place where I photographed is just a park and there isn’t any building, or even signs that show the presence of a restricted area where you cannot take pictures. Shortly after, the main reason of my arrest became the fact that I didn’t share any information about the contacts I used for some of my reportage as a journalist.
Peppers Hideout, Perv’s House, the High Chaparral, the Patio Lounge, and the Showcase Lounge – the names alone are intriguing. They were the clubs of Chicago’s South Side in the 197os, which played underground funk, blues, and early disco, and which also played host to a glamorous crowd of music-lovers. “It was a living self-contained theatre,” said Michael Abramson, the photographer who photographed the scene. A white man in a predominantly black crowd, popping off half a dozen rolls of film every night with a Leica and a flash, Abramson was an unlikely chronicler. But, throwing himself into the lifestyle, he was able to win his subjects’ trust by getting into their scene – caught on film drinking, laughing, and dancing with his subjects into small hours, he “had a ball”, he said. Born in New Jersey in 1948, Abramson was working on his Master of Photography from the Institute of Design, Illinois Institute of Technology in Chicago when he shot the series for this thesis; the photographs won him a National Endowment for the Arts in …
The first night he spent in a bothy, a primitive and remote man-made shelter, Nicholas JR White witnessed a sight he would not forget in a hurry. He and a friend had arrived at Warnscale Head in the Lake District and were talking about the project that would become Black Dots – now a book published by Another Place Press – when they looked out of the window and saw the Northern Lights stretching far into the distance. “We had the whole of the fells to ourselves and sat outside with beers, just watching,” says White. “That was the first night of the project and it was a really good start. The next day I got the first image that would make it into the series.” Little did White know then that this would be the first of many nights spent in bothies across Scotland, Wales and northern England over the following three years. He first had the idea to make a project about these former crofters’ cottages and farmers’ huts, nestled deep in the …
When Jordan Baumgarten and his wife moved into the neighbourhood of Kensington in Philadelphia in 2013, they were shocked by what they saw – sex workers, dealers and drug use, all in plain view on the street, with almost no oversight from the police. Faced with these scenes daily on his doorstep, Baumgarten turned to his camera in an attempt to make sense of the area. “Photography forces an interaction and relationship with the world because it demands that you go to a certain place,” he says. Kensington is “a nexus for those in and around the city seeking heroin and all that it entails. It co-exists alongside everyday life in the neighbourhood and its surrounding landscape,” Baumgarten explains. But he adds that while this work focuses on Philadelphia, it addresses a much larger issue: “The city serves as a microcosm to discuss issues tearing apart the fabric of our social landscape.” Born in Philadelphia in 1983, Baumgarten stumbled across photography almost by accident after breaking his leg in 6th grade – keen to keep …
Peter James was an instrumental figure in British photography, establishing an outstanding collection of photography at the Library of Birmingham over his 26-year career at the institution, and researching and curating exhibitions at the V&A, National Portrait Gallery, Somerset House, Birmingham Museum and Art Gallery, Ikon Galley, the Library of Birmingham, and many more. He was also a modest and affable man, universally known as Pete and as at home over a curry as in a lecture hall delivering an academic paper. As Hilary Roberts, research curator at the Imperial War Museum, put it in a tribute on James’ Facebook page: “Pete has been a wonderful friend and exceptional colleague for more years than I can remember. His contribution to the world of photography cannot be overstated. It was a privilege to work with him and I will miss him more than I can say.”
“I never had trouble walking up to people and asking them to take their picture,” photographer Arlene Gottfried (1950-2017) told The Guardian in 2014. Largely unknown to the public for the majority of her career, it was her black-and-white photographs of New York in the 1970s-80s that first sparked an interest in her work. Looking at them, it’s clear that Gottfried had a way with people as well as with images. “Arlene had a way of looking at the world with curiosity and love that was distinctly her own,” says Daniel Cooney, who runs a gallery of the same name currently showing Gottfried’s work.
“I’m a bit at a loss at the moment; to say that I’m honoured feels like an understatement,” says photographer Daniel Shea, who has won the 12th Foam Paul Huf Award. “I’ve been following this award and Foam for a long time, and I feel incredibly honored, grateful, lucky, and humbled by this opportunity.” Shea has won the prize with his series 43-35 10th Street, described as a reflection on late capitalism and its effects on New York City. He wins €20,000 and a solo show at the Foam Fotografiemuseum in Amsterdam, which will take place in Autumn this year.