First featured in BJP in 2010 with her graduation project, Alma Haser came to wider attention two years later with a work titled The Ventriloquist. Struck by the identical, bowl-cut hairstyles of two close friends, Luke and James, she took their portrait – and image earned her a place on the shortlist for the Taylor Wessing Photographic Portrait Prize. Despite the attention, Haser became disillusioned with 2D images and began to incorporate a form of paper manipulation to create her signature aesthetic. Rather than flattening the world around us, she now folds it into something new. “Experimentation has shaped my identity as an artist,” she says. “I’m always thinking about different sculptural approaches to photography and how I can build layers into the work.”
“It is an opportunity to meet people in the industry in a relaxed and enjoyable setting,” says Mimi Mollica, photographer and founder of Offspring Photomeet. “It’s easy to build contacts when you hang out for a couple of days with editors and publishers who share the same passion as you.” Offspring Photomeet will return to Space Studios in Hackney in June for its 5th annual portfolio review, offering one-on-one reviews with experts from Tate Modern, British Journal of Photography, The Guardian and more.
“It is a very progressive, very independent festival. It’s not part of the city’s art establishment. It’s dynamic, because the organisers are working way out on a limb,” says Susan Bright, ‘godmother’ of the Circulation(s) festival of young European photography, which takes place in Paris from 17 March-06 May
To mark the launch of the Bob Books Photobook Award, a new competition from Bob Books, the UK based on-demand photobook printer, BJP is publishing a three-part series featuring advice on how to make and promote a photobook. In part one, publishing experts and photographers who’ve successfully made the journey share invaluable advice on what to think about before diving in. Producing a photobook is an important milestone in any photographer’s career, demanding a huge investment of time, energy, and resources. With so many photobooks being published every day and the bar to entry lower than it has ever been, how do you make a book that does your project justice, stands out from the rest, and most importantly sells? Publisher Dewi Lewis, who has been in the industry for more than 30 years and has worked on books with photographers including Martin Parr, Edmund Clark, and Stuart Freedman, says the starting point has to be for every photographer to ask why he or she wants to make a book. “Not enough photographers ask themselves …