Aiyush Pachnanda may have yet to finish his Photojournalism degree, but he’s already taking the photography world by storm. EyeEm, a global photography marketplace and community, recently announced him as their Photographer of the Year, the most prestigious title in the EyeEm Photography Awards. As well as receiving a trip to Berlin Photo Week and a Sony Alpha camera, Pachnanda will act as the EyeEm ambassador during 2019. So what is it that sets Pachnanda apart from the 100,000 other photographers who entered? His winning image, a low angle portrait of a heavily tattooed man with a grey tower block looming behind him, says it all. Flick through Pachnanda’s work and you’ll notice two recurring themes: urban landscapes, and striking people. Splitting his time between London, where he grew up, and Cardiff, where he studies, Pachnanda has an enduring interest both in the city, and in the subcultures that people form there. In his unaffected way (he’s pursuing a rough-and-ready style of photojournalism, often using an old point-and-shoot), he captures the raucous underbelly of urban …
Food Not Bombs is a 30-year-old global movement. Initially based in Massachusetts, US, the grassroots organisation has now spread worldwide, working to unite and care for people by feeding them, and maintaining an ethos of anti-poverty and non-violence. In recent years, the Yangon, Myanmar sector of the Food Not Bombs movement has become well-known. Mohawked, black-clad and silver-studded, the group spends their time recording and performing punk music, and caring for Yangon’s homeless community. Recently, they have also developed plans to set up a school for children living in the city’s slums. Nico Djavanshir’s series Punk, Love and Kindness follows Yangon’s punks through their daily lives, in the hopes that his work can shed light on their own. The series combines our shared values of individuality, community and unity, and embodies the aims of Portrait of Humanity; we see the subjects with their families, singing into microphones, teaching groups of smiling children, and sometimes campaigning for the Food Not Bombs movement. “I wanted to take positive images,” says Djavanshir. “We’re used to seeing tragic work …
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 …
“The new interest in street photography over the last decade and a half is perhaps the single biggest global movement photography has seen in its 170-year history,” says Nick Turpin, creative director of Street London, the third annual edition of the festival dedicated to street photography, taking place at D&AD’s new east London space from 17 to 19 August.
The three-day event, hosted by Hoxton Mini Press, includes guest speakers, shoots, panel talks and, of course, a street party on the Saturday night. There is also an opportunity for photographers to pitch for a 10-minute slot on stage, the Spotlight sessions, where 12 successful applicants will present their projects to an audience for constructive feedback. The theme for discussion this year revolves around how street photography is being redefined by photographers who have emerged from other backgrounds, including photojournalism, art photography and portraiture and how this has influenced them today. There is also a conscious view to look to contemporary expressions of genre.
“In St. Louis, ZIP codes matter,” says Piergiorgio Castotti, an Italian photographer who lived in the US for three years. “North of Delmar boulevard, 95% of people are black, and life expectancy is 67. A few hundred yards south, 70% of people are white, and there is a life expectancy of 82.”
Index G, a collaborative project he’s made with photographer Emanuele Brutti, explores the harsh reality of this segregation, which is measured with the so-called Gini Index. Where once racial segregation in the US was obvious, and even enshrined in law, it’s now peppered throughout cities on a micro level, from neighbourhood to neighbourhood, and can therefore be easy to miss. “There were unexpectedly very few literal barriers in St. Louis; this meant that our first trip was a disaster,” says Castotti. “I didn’t know what to take pictures of.”
It’s the biggest and best-respected photo festival in the world – it’s Arles and it’s back from 02 July-23 September, with a special opening week from 02-08 July. With the blessing of the French Minister of Culture François Nyssen – who declares that “Arles wouldn’t be Arles without photography” in her welcome to the festival – the 49th year of the festival is lead by director Sam Stourdzé, who took over its organisation in October 2014. As you might expect, the momentous events of May 1968 are commemorated at Arles this year, with a group of exhibitions titled Run Comrade, The Old World is Behind You. Considering events such as the student demonstrations and strikes in France, and the assassination of Robert F Kennedy that year, this section includes shows such as 1968, What a Story! which uses previously unseen images from police archives, Paris Match and Gamma-Rapho-Keystone. Elsewhere Arles looks to the future with a group of shows titled Augmented Humanity which includes work by Cristina de Middel & Bruno Morais, Matthieu Gafsou and Jonas Bendiksen; and in the Emergences section, which includes the ten photographers included in the New Discovery Award this year.
“I think women photographers are very good at building relationships with their subjects” says Sirkka-Liisa Konttinen, co-founder of Amber, a film and photography collective based in Newcastle that aims to capture working-class life in North East England. “They are more interested in the personal stories, and through these they get a much more intimate look into their subject’s lives.”
Women by Women is a major presentation of the work of five female photographers working in the North East from the 1970s – 2000s. Curated by Konttinen, the photographs are drawn from projects originally commissioned by Amber, and the exhibition forms part of Idea of North season at the BALTIC Centre for Contemporary Art in Newcastle.
“The North is often associated with the male more than the female, in terms of what has been documented,” says Konttinen. “I thought it [the show] would make a strong statement about our collection being more balanced than is perceived by the outside world. It’s the idea of bringing women into the picture of the whole concept of the North.”
In classical music, ‘impromptu’ refers to a short improvised piece, performed spontaneously with little or no preparation. Géraldine Lay’s new book, Impromptus, is a visual take on the term, aiming “not to tell a story about the place or the country, but to be out of time”.
Lay first encountered photography during her course in History of Art at the University of Lyon; studying the history of the medium, she was bitten by the photography bug, and went on to study at the National Photography School. She graduated in 1997, and is now based in Arles.
“Initially, my practice was part of my daily life, I had no preconceived ideas or strict subject,” says Lay. “I got into the habit of always having a camera with me, to take advantage of all the little moments of life.”
From the 4 June, for five days only, signed or estate-stamped, museum quality 6×6” prints will be available to purchase for $100, from more than 70 Magnum photographers – each responding to the theme ‘freedom’. Fifty years ago, in 1968, the world succumbed to momentous change. It was a seismic year of deep societal and political shifts in the name of freedom. In America particularly, the civil rights movement took hold, Martin Luther King Jr. was assassinated, and anti-Vietnam war protests raged. But all over the world, international issues of freedom from oppression, freedom of speech, and political, sexual and religious freedom, also came to the fore as protests racked cities. To celebrate this year in history, the Magnum Photos June 2018 Square Print Sale is examining the very definition of freedom and its legacy. The works on sale span the last 70 years, and capture both deeply personal, and universal, notions of freedom. “Freedom is often described with big words, but we encounter it every day in the little things we do,” says Newsha …
“Childhood is my main theme,” said Dagmar Hochova. “During the totalitarian regime it was one area that could be freely explored and this determined that I sought children out. It was a different era; children played on the streets, in the suburbs. One could see them everywhere.”
Little-known in the UK to this day, Hochova was famous back in Soviet-era Czechoslovakia for her photographs of children. In fact her work extended far beyond this topic but, often critical of the communist regime, much of it could not be published or exhibited until after the 1989 Velvet Revolution.