Chris Steele-Perkins began The New Londoners four years ago, a project reflecting the individuality, community and unity of Londoners today. “The idea behind it was to think of a different way to photograph migration,” he explains. “Migrations have always been photographed very extensively in a dramatic, photojournalist sense, but I wanted to change that.” The project encompasses portraits of families from over 180 countries across the globe, who have all settled in London. Before it’s culmination into a book in Spring 2019, Steele-Perkins hopes to photograph 20 more. “It’s one of those projects that could go on forever,” he says, “But I have to draw the line somewhere.” He chose London as the setting for the series because, in his own words, “London is leading the way as a multi-ethnic, multi-cultural city.” Home to people from every nation on the planet, there are currently around 200 nations listed in the city, according to the UN, making London the most ethnically diverse place in the world. This push to globalisation has occurred over the last 20 …
“He had such a strong character, he was full of energy and funny. Even if his health had worsened in recent months, he was always happy to welcome others and share good memories with friends in his famous Ara Kafé, near the no less well-known Istiklal Avenue. We will miss him,” says Emin Ozmen of Ara Güler – the ‘eye of Istanbul’ who has died aged 90
Would you like to join Magnum Photos? The agency is inviting photographers worldwide to submit their portfolios online by 31 January to be considered for nominee status.
Magnum will accept digital submissions from all professional photographers, and entries for June 2019 can be made through this website: https://contests.picter.com/magnum-photos/submissions-2019/ Applicants are required to submit two to three projects, with up to 80 photographs in total. The new nominee members will be announced on 01 July 2019.
In addition MACK is accepting open submissions for its First Book Award this year – in contrast to previous years, in which photographers were nominated by a panel of industry insiders. The prize is open to any photographer or artist who has not previously published work with a third party company, and entries are invited from 12 November 2018 – 21 January 2019. All entries must be paper book dummies; digital submissions are not accepted.
Alec Soth’s first book, Sleeping in the Mississippi, was so sweeping in its epic statements, it seemed that Soth had nothing left to photograph. What could he do next? The answer is Niagara, a portrayal of the town that has traditionally been the romance capital of North America. In Niagara, Soth sets out to capture the grand passion of life, to do for love and marriage what Sleeping in the Mississippi does for the American Midwest.
“Niagara is part of American mythology. It’s a place of romance, where people go to get married,” says Soth. “But when I got there my view of the place totally changed. The American side is economically devastated. It’s bleak.” As Mack Books republishes Alec Soth’s classic book, BJP revisits our review first published in 2006
Portrait of Humanity is a new global initiative in partnership with Magnum Photos, seeking to prove that there is more that unites us than sets us apart. Through the power of photography, we want to portray the unity of human beings around the world, by inviting photographers to capture the many faces of humanity. There has been only one exhibition that has sought to spread a similar message on this scale before, and that was Family of Man, which toured the world for eight years in the 1950s. In 1955, almost a decade into the Cold War, and as anxiety was building surrounding the possibility of a catastrophic Nuclear War, Edward Steichen, the director of the Museum of Modern Art’s Department of Photography, decided to take on a momentous challenge; to create a photography exhibition showing the “essential oneness of mankind.” Calling for images taken by photographers across the world, Steichen’s aim was to build a visual manifesto of peace. First shown at MoMA in New York (US), the exhibition then toured the world for eight …
“In 15 years, not a day went by when I didn’t question my own work,” says Chinese photographer Lu Nan, in an interview included in his new book Trilogy. “That’s why I scrutinise what I was doing by means of reading. This mode of assessing action through thought and assessing thought through action helped me to complete these projects.
“The trilogy is concerned with human beings. I hope that by looking into real life, I’ll find something fundamentally and enduringly human.”
Lu Nan isn’t well known outside China but this book, his first in English, should change all that. It collects together three projects he shot over 35 years – The Forgotten People, a look at the lives of Chinese psychiatric patients, shot from 1989-1990; On the Road, a look at the lives of Catholics in China, shot from 1992-96; and Four Seasons, a look at the lives of rural Tibetans, shot from 1996-2004.
As we welcome people to submit photographs to Portrait of Humanity, an initiative celebrating our shared values of individuality, community and unity, we also highlight the work of photographers who have done just that. And perhaps no one has embodied this ethos more so than Jimmy Nelson, who has spent the last 30 years photographing indigenous cultures around the world, in the hopes that we might be able to learn from them. Jimmy Nelson’s latest project, Homage to Humanity, has just been released. This time, his work has been produced not only in the form of a book, but also digitally, with an app that has the capacity to scan over every photograph in the book, and to bring them to life with interviews and films. This allows people to see the making of the work, and to understand the process behind it. This new way of bringing people into the closed worlds of these indigenous tribes combines their traditions with our technology. As we increasingly spend more time than ever on our smartphones, Nelson …
“You’re always looking for that time where everybody forgets you’re there and becomes themselves. Surprisingly, they do, sometimes to the detriment of what you knew about them,” says Eugene Richards, who has devoted his career to documenting social injustice in America, and injecting himself into intensely personal situations.
Richards’ style is up-close and unflinching, “ironically it’s the process of becoming as not there as you possibly can, if you hang around long enough people don’t care”, he says. Though his photography has been described as poetic and lyrical, he has never thought of himself as an artist. “I went in with some knowledge of photography, but mostly with the idea of providing information,” he says.
Marc Moitessier is a photographer from Marseille, France. His most recent, and perhaps most challenging, body of work is 36 Poses, a project borne out of his frustration with himself and the over-saturated photography industry. Ignited by the feeling that he was taking too many photographs, and no longer feeling excited by them, Moitessier set out to Beijing, where he didn’t speak the language, and with little more than his camera, a fix lense, and a single role of 36 exp film. The aim? To take a single photograph each day, a challenge so intense that after completing the project, Moitessier didn’t touch the photographs for ten years. The images themselves tell a different story. They capture quiet moments; a group of men playing cards in a local park, people slurping large bowlfuls of noodles, a guard smoking as he leans against the Great Wall of China. Perfectly composed, it’s difficult to believe that the photographs were taken in just a single shot – a testament to Moitessier’s craftsmanship. We spoke to Moitessier about how …
It is difficult to unravel, in many of the stories that Max Pinckers tells, where fiction became unstuck from fact. Or how the characters in his photographs can look back out at the world so boldly, shake their heads at reality as most people see it, and tell stories that fly in its face. But for the Brussels-based photographer, the six curious individuals in his latest book, Margins of Excess – including a boy who compulsively hijacks trains, and a private detective with prosthetic hands – lead the way to understanding documentary photography’s role in the ‘post-truth’ era.
One such character, an American amateur inventor with a mane of silken hair, sat at the kitchen table of his home in Dunnellon, Florida and told Pinckers that he believed he had become the media’s new Osama bin Laden. “My name is Richard Heene. A few years ago I got into a bit of trouble,” said the forty-something showman, detailing the events that led him to end up behind bars.