Uncensored books is a comprehensive look at publications that consider the uses and abuses of the image in our society – especially by those in power, which is going on show in Palermo, Sicily today as part of a wider book festival
“My photography is me, my doubts and my hopes,” says Spanish photographer Albert Bonsfills, who has shot major projects in China and Japan. “My camera is a mirror, a tool to help me understand myself as well as a way of showing other people’s lives, even people I have nothing in common with at first – people born 10,000 miles away from me.”
“I enjoy an incredible freedom in how I work, in what I photograph or when I do it,” the 20-year Magnum member tells BJP. “By signing that contract I had the feeling I would lose so much more than what I would gain.”
Fiercely independent, Tom Johnson left school at 17 and dropped out of college, before setting up his own studio and carving out a career for himself in fashion photography. He’s now shooting for titles such as AnOther, SSAW, Buffalo Zine and Man About Town, as well as campaigns for Opening Ceremony and Faye Toogood, and is represented by Mini Title – whose founder first saw his work in BJP.
“As a photographer, you are basically only able to create an image of how you see someone rather than maybe what is really there,” says Jenny Lewis, whose portraiture has been published in two books, and whose work was selected for the inaugural Portrait of Britain show
Arunà Canevascini was nominated by Erik Kessels for the richness of her projects, which merge femininity, domesticity and migration. In Villa Argentina, Canevascini examines these themes through elaborately-designed images in which the domestic settings she photographs are disrupted by intrusions from both the history of art and her own family past.
“There’s no bigger reward than to capture a meaningful photograph from a seemingly ordinary moment,” says Isreali documentary photographer Tomer Ifrah, who has shot a Hindu pilgrimage, an Israeli prison and the Moscow metro
“I believe Turkey is photographed deficiently,” says Çağdaş Erdoğan. “The photographs we see of Turkey are propaganda for the nationalist movement, or they’re Orientalist images for the outer world since these are what they want to see.”Erdoğan, 24, is a Kurdish Turk born in a small town in the east of the country who has established himself as one of the leading young photojournalists in a newly authoritarian and conservative Turkey
David Campany’s celebrated exhibition, A Handful of Dust, traces the 20th century history of photography through this seemingly humble substance; as the show finally comes to London, we revisit the article on it he wrote for BJP back in 2015
“The working class get it in the neck basically, they’re the bottom of the pile,” says Chris Killip. “I wanted to record people’s lives because I valued them. I wanted them to be remembered. If you take a photograph of someone they are immortalised, they’re there forever. For me that was important, that you’re acknowledging people’s lives, and also contextualising people’s lives,” says key British documentary photographer, Chris Killip