Dan Wilton is a UK-based portrait and documentary photographer who works with clients such as The Fader, Asos, The New York Times, Adidas, Nike and XL Recordings. His portraits of Dizzee Rascal and Stormzy were both selected in BJP’s Portrait of Britain award last year, and displayed on JC Decaux screens the length and breadth of the country. BJP caught up with Wilton to find out more about his approach. What makes a compelling portrait? Too many things to list, every shoot is different. I realise the importance of patience on my part. Taking my time allows whoever I’m photographing to either engage with the process or to switch off and forget it completely – both of which I’ve found can really work with the way I shoot. It’s all about connection – about finding some kind of dialogue. Sometimes that can be hard – especially with very short shoots – but that’s one of the challenges and one of the reasons I love it so much. When did you fall in love with photography? It’s been a …
J A (or Jim) Mortram was born in 1971, and studied art in Norwich. In his third year of college he dropped out to become the primary carer for his mother, who has chronic epilepsy, in a small market town in Norfolk called Dereham. In 2006 he started shooting people in and around Dereham, focusing on those facing disadvantages and social exclusion, and went to create a blog called Small Town Inertia, featuring his images and their words. The blog was critically acclaimed early one, and in 2013 Mortram was one of BJP‘s Ones to Watch. Mortram has made publications of three of his stories with Cafe Royal Books, and is now finalising a photobook called Small Town Inertia, which will be published by Bluecoat Press in June. BJP: When did you get into photography? J A Mortram: About seven or eight years ago, in the months before I started the Small Town Inertia blog. It both saved and completely transformed my life. After years of being a carer for my disabled mother, I’d become highly marginalised. Being a carer …
The Dutch photographer’s epic Imperial Courts project, which was shot over 22 years, impressed the judges with its “affirmation of photography’s power to address important ideas through pure image”
The ten winners are: Carl Bigmore, Georgs Avetisjans, Kazuma Obara, Lua Ribeira, Martin Seeds, Matthew Broadhead, Michael Vince Kim, Monica Alcazar-Duarte, Sam Ivin and Sian Davey.
“Taking someone’s portrait is always a disruptive and often very awkward event. Everyone has their default portrait pose. The role of the photographer is to push beyond, to find that mysterious intimate moment that only a camera can freeze.”
The Madagascan photographer won the prestigious prize with her beautiful and chaotic series on Dakar – which she started to help process a city she finds “very energetic, very hectic, very loud”.
The world-famous photo agency goes to town with four exhibitions, a live residency, a swap shop, a book launch, a series of talks and discussions, and even a t-shirt collection
Questions of truth and fiction, doubt and certainty, and the relationship between the observer and the observed are the key themes of the £30,000 prize – which rewards a living photographer, of any nationality, for a body of work felt to have significantly contributed to photography
“Individually these photos represent the moment that we crossed paths, but collectively they represent my portrait of London – a confident city, a city of the future, a city I call home,” says Niall McDiarmid, who has been shooting portraits on the streets of Britain’s capital for the last six years.
Laia Abril is no stranger to themes of distress. Bulimia, coping with the death of a child, the asexual community, virtual sex-performer couples – these are all topics that the Barcelona-based photographer has explored and attempted to demystify with her multi-layered, story-based practice. The subjects she tackles are complex and provocative, but ones she is able to connect with by way of female empathy, “where I can be involved emotionally”, she says. Her most extensive work to date explores the struggle of eating disorders and is divided into chapters, starting with a short film titled A Bad Day. Next came Thinspiration, a self-published fanzine exploring and critiquing the selfie culture used by the pro-ana community; and finally The Epilogue, which follows an American family in the aftermath of losing their daughter to bulimia. Separating the work into sections allowed her to approach different aspects through different platforms, not only in the multiplicity of perspectives but also in a constantly evolving visual stimulation. Her new work, A History of Misogyny, also adopts the use of a …