In 2013, a proposal to initiate Europe’s largest gold and silver mining project in Roșia Montană, Romania, sparked a series of anti-government protests in dozens of cities across the country. The proposal is still awaiting a parliamentary decision, but among its many contentions are the long-term health effects ofcyanide poisoning – a potentially deadly chemical used to extract gold – and the suspicion of fake documentation, prompted by vested interests within the government. Belgian photographer Tomas Bachot travelled to Romania in 2015, intending to create a documentary project about the state of the mining conflict. After months of travelling through several cities, one of his couchsurfing hosts reacted negatively to his photographs, and said she was unable to support his vision of her country. “I was shocked, because as an image-maker you’re always open to hear feedback, but you’re also scared,” says Bachot. “I realised what I really needed to do, rather than just observing the place and the situation. I realised that what I was doing was a very limited way of meeting people …
Think of a horror or thriller, and you may think of the happy first half hour or so when everything seems to be going just fine. The Stepford Wives’ town initially seems like it’s perfect; The Vanishing opens with a couple going on a holiday. It’s only later that the tone takes a turn for the worse, before descending into something more substantially scary. That shift is something the residents of Amherst, Massachusetts seemingly live in fear of, because – while on the face of it their small town is an idyll – they’re constantly on the alert.
“7.32pm – Residents at The Boulders complained about a man yelling out the window in a foreign language,” reads a police report published in the local paper, the Amherst Bulletin. “The man told police he was just stating his excitement for the dinner he was about to eat.” “5.53pm – A woman called police after being approach by a photographer in downtown who asked if he could take pictures of her feet,” another reads. “The photographer was not located.”
The Arctic circle is warming twice as fast as the rest of the world. According to the National Oceanic and Atmospheric Administration, for the past five years Arctic air temperatures have exceeded all records since 1900. If temperatures continue to rise, scientists expect that the North Pole will be ice-free in summer by 2040.
Ice reflects sunlight while water absorbs it, so less ice means even higher temperatures. But the consequences of disappearing sea ice in the Arctic are more complicated than the obvious impact it has on our global climate. Less ice provides new routes for maritime shipping, and opens up new areas for the exploitation of fossil fuels, transforming the region into a strategic battleground for countries with vested interests – not to mention indigenous villages whose livelihoods are threatened by rising sea levels.
Photojournalists Yuri Kozyrev and Kadir van Lohuizen, who are both represented by NOOR, travelled through the Arctic circle, documenting the startling, and often complicated, effects of Arctic climate change. Arctic: New Frontier is the product of the ninth edition of the Carmignac Photojournalism Award, which each year funds a new investigative photo reportage on a humanitarian and geopolitical issue. An exhibition of over 50 photographs and six videos will be displayed at London’s Saatchi Gallery from 15 March until 05 May.
When photographer Jess T. Dugan was 13, she started to question her identity. Over the next few years, she came out as queer – a process which, at the time, was isolating; there was nothing in the mainstream media that reflected her experience. In fact, she had never seen an image of a queer or gender nonconforming person at all, until she stumbled across one in a photography book – a discovery she describes as having a profound influence on her. We spoke to Dugan, who identifies as non-binary (but uses the female pronoun), in light of Female in Focus, a new award seeking to elevate exceptional work by female and non-binary photographers. Our aim is to take steps towards a more diverse and inclusive photography industry. Dugan’s work, which focuses on the untold stories of marginalised groups, encompasses the values at the heart of Female in Focus. “I think that representation – and seeing oneself represented in the larger culture – is incredibly important,” says Dugan. “Images can function as possibility models, validating an …
Over the last decade, Hiro Tanaka has published two photobooks – Dew Dew Its and Chicharron, which won the 2018 Cosmos Arles PDF Award. He has exhibited globally in group shows and photo festivals, and toured the world with punk and hardcore rock bands, where he is often spotted deep in a mosh-pit, camera pumping in the air. But before all that, he was working nine-to-five as a computer technician in Tokyo, Japan, with no interest in photography. Tanaka’s whole career sprouted from a string of unexpected coincidences, beginning with a free flight to America.
Clare Strand’s latest project presents a series of negatives printed onto translucent paper. “The offer’s there,” says Strand, “People can make their own prints and then they have the images themselves, or they can keep the book as it is. The negatives have a physicality to them – they have their own aesthetic – so it’s not a redundant object if you don’t use them”.
Strand’s zine is the 24th edition of Angle 1-90°, a 90-part project by Norwegian book publisher Multipress. Each zine is made by a different artist who presents their own unique angle on the world through photography. Multipress will continue to produce four zines a year until they reach 90°.
Britain, for all its charms, can be dominated by grey skies and gloomy headlines. So it’s uplifting to come across the work of Charley Williams, whose portraits of drag queens and LGBTQ party-goers show Britain as the joyful and free place it can be. Her work is rooted in Bristol, where she lives. This small city, in England’s West Country, is famous for being progressive, and it has a vibrant and liberating spirit that abounds in Williams’ work. Dominique Fleek, the image that made the Portrait of Britain 2018 shortlist, captures a drag artist transforming into character. Williams tends to find her subjects in nightclubs and at festivals, and as such, her portraits explore a queer and carnivalesque world. Ahead of Portrait of Britain 2019, we spoke to Williams about how photography can tackle intolerance and can move us towards becoming a more open and accepting society. What did you want to capture about your subject, and about modern Britain, with the portrait that you entered into Portrait of Britain 2018? The subject of my …
“If we don’t look at them, or if we try to sanitise it, then it’s not honest to this brutal experience of being homeless,” says Danish photographer Thilde Jensen, who is currently raising funds to publish an impressive four year project on homelessness in America, The Unwanted. Shot over four years in four American cities – Syracuse, Gallup, Las Vegas, and New Orleans, Jensen is currently raising funds on kickstarter to publish the project as a book, which will include 120 colour images, as well as a poem by Gregory George – a homeless man she met in New Orleans – and an essay by Gerry Badger.
Documentary photographer Carly Clarke has shot a remarkable array of subjects. One of her projects explores the modern epidemic of India’s ‘forgotten elders’, a generation neglected and abused by their adult children. An earlier project, in contrast, explores the lighter topic of a Sussex brewery, while a third gives a behind-the-scenes view of a group of UK fishermen at work. Though her subjects differ hugely, the common thread is Clarke’s fascination with the way communities live across the globe. Clarke creates her most compelling portraits, however, when she turns the camera on herself. Last Day of Chemotherapy, the image that was shortlisted for Portrait of Britain 2018, is part of her series Reality Trauma. Clarke started the series after being diagnosed with cancer, and the result is an unflinchingly honest stage-by-stage account of her chemotherapy treatment. This deeply personal, contemplative work, is proof of Clarke’s absolute dedication to photography, the art form that gave her hope during an extremely challenging time. The image that was shortlisted for Portrait of Britain 2018 is a self-portrait taken …
“I got into photography because I’m a little restless, and I liked that it was fast,” says Brazilian photographer Mona Kuhn, who has just published her sixth book with Steidl, She Disappeared Into Complete Silence. Even so, the speed of photography haunted her, as Kuhn feared that her photographs would be consumed then discarded – like so many of the magazines she read and tossed away. “I wanted to stop time with photography,” she says. “That’s another reason I got into nudes, for the timeless aspect.”
She Disappeared Into Complete Silence is an experimental project shot in Acido Dorado, a reflective house in the middle of the Californian desert designed by American architect Robert Stone. Inside it are mirrored ceilings and walls, which refract sheets of golden desert light that flood the house. Here, Kuhn presents a solitary nude on the edge of the desert, removed from any symbols of time, creating “an abstraction of being,” and “a space where our mind resides”.