Inspired by his baby son’s time in hospital, photographer Reiner Riedler was compelled to pay tribute to remarkable medical technology and engineering that we rely on to keep us healthy and moving.
For over four decades, the documentary photography course has forged a reputation as one of the UK’s leading photography teaching destinations. In fact, the very first photography class can be dated back even further to 1912, when it was introduced by the head of the school of art at Newport Technical Institute. The course, however, was set up in 1973 by Magnum photographer David Hurn as a 12-month Training Opportunities Scheme to ‘re-skill’ miners and steelworkers.
Founded in 2006 by photographer and curator Olga Korsunova, art-manager and photography critic Nadya Sheremetova, and art historian Elena Zyrianova, FotoDepartment is a gallery, bookshop, library and education hub in St. Petersburg, Russia. Aiming to promote and develop contemporary Russian photography at home and abroad, FotoDepartment runs many events, exhibitions and workshops, and represents internationally-recognised artists such as Kirill Savchenkov, Irina Yulieva, and Jana Romanova. FotoDepartment is also currently running several digital projects. Now it’s started a publishing project called Amplitude, creating photobooks of emerging Russian photographers’ work which can be read individually, or gathered together into groups. Amplitude No.1 includes photobooks by Alexey Bogolepov, Margo Ovcharenko, Irina Zadorozhnaia, Anastasia Tsayder, Igor Samolet, Yury Gudkov, Olya Ivanova, Irina Ivannikova, Anastasia Tailakova, and Irina Yulieva. BJP caught up with Nadya Sheremetova to find out more
Global business developer for Magnum Photos and founder of Firecracker, Fiona Rogers picks out her top five from the Arles festival and its fringe events – the group show Iran, Year 38; Looking for Lenin by Niels Ackermann; The Incurable Egoist by Masahisa Fukase; Life in Cities by Michael Wolf; and The Island of the Colorblind by Sanne De Wilde
The director of Seen Fifteen Gallery on her five favourite at Arles this year – from the official programme, the Luma Rencontres Dummy Book Award, and the LUMA Foundation Parc des Ateliers
No matter how hard you try, sometimes Arles can be just like Glastonbury (sans mud) – lots of things going on and you get sidetracked, and don’t get to see the one thing you wanted to. However I did manage to get round a diverse group of exhibits this year, one of my favourites actually being the Alice Neel painting show at the Fondation Van Gogh. Here is my round-up of what I saw of note this edition. The House of the Ballenesque, Roger Ballen This was very talked about in Arles – an old ramshackle house that Ballen has taken over, to express somewhat of what goes on in his mind and informs his photography. Like a giant walk-in sketchbook, it’s part fun-house and part mental asylum, with lots of creepy figures and dolls heads stuck on mismatching bodies. It’s worth seeing because it’s a bit different, though it doesn’t quite feel like the main event – it’s more of a fun sideshow to his practice, but interesting nonetheless. Try to go on a …
“I casted Fern for a campaign I was shooting, and we clicked right away,” says Rosaline Shahnavaz. “She showed up wearing thigh-high white PVC boots with about 600 button holes (God speed to the stylist) and she’d texted me the night before to see if she’d need to shave her armpits, because she’d been growing her hair for four months and really didn’t want to. We had a special dynamic straight away and I couldn’t stop casting her after that.” So began a working relationship that turned into a personal project and a friendship, with both women regularly meeting up to hang out and take pictures.
“I always wanted to be a painter; I suppose most photographers secretly do,” says Erik Madigan Heck. “My mother was a painter. We painted together when I was a child, and she took me to the museum almost every week to look at paintings.” He’s gone on to develop a rich, painterly style of photography, which has brought him commissions from clients such as The New York Times Magazine, Vanity Fair, TIME, The New Yorker, and Harper’s Bazaar UK – and, most recently, with Sotheby’s Diamonds
Publishing a photobook can seem like a daunting task – which pieces to include, how best to lay out the work, and how to approach publishers. The list of concerns can seem endless even if you’re a seasoned pro, and it can be overwhelming if you’re publishing for the first time. At our upcoming workshop on 29-30 July, a panel of experts will discuss overcoming these hurdles and maximising impact with quality content and efficient distribution. One of them, Magnum photographer Mark Power, advises photographers to take their time. “Never rush a book” he says. “Only start thinking about publishing when you really think you’ve finished your project. The last thing you want is to regret a book you’ve made years afterwards. Think hard about sequencing, and what you’re trying to say or tell your audience. If you consider yourself a storyteller then are you telling that story as well as you can?” Photographers should have these elements in place before they approach publishers, he adds – who will want to see well-developed ideas that they …
Jens Olof Lasthein, a Swedish-born photographer brought up in Denmark, has spent much of his career travelling around the European hinterlands, where international boundaries have been shifting for centuries. His new book, Meanwhile Across the Mountain, published by Max Ström, is a stunning survey of the Caucasus – the part of southeastern Europe that used to belong to the Soviet Union, but is now a collection of sovereign states and breakaway regions such as South Ossetia, Dagestan and Chechnya.