Photographs of a woman holding her baby, two shoppers, a drum majorette, and a child from a remote village in Sierra Leone have all been shortlisted for the National Portrait Gallery’s prestigious Taylor Wessing Photographic Portrait Prize this year. The prize winners will be announced at an award ceremony at the NPG on 16 October, with the overall winner receiving £15,000 and other cash prizes awarded to the shortlisted photographers at the judges’ discretion.
Two of the images were shot in London, with Max Barstow behind a striking photograph of two women in a busy shopping street in the city centre. The image comes from his series Londoners and in it, he says, his aim has been to “make unposed portraits with the intensity of images made by great studio photographers such as Richard Avedon and Irving Penn”.
Running since 2013, the PHM Grant has a reputation for finding interesting new photographers such as Max Pinckers, Tomas van Houtryve, and Salvatore Vitale. Now the 35-strong shortlist for the 2018 has been announced, with the winners due to be announced on 08 May and four prizes up for grabs – a first, second and third in the main award, plus a New Generation Prize. Each winner gets a cash prize plus a publication on World Press Photo’s Witness, a projection at Cortona On The Move and at Just Another Photo Festival, and promotion via PHmuseum. The jury handing out the awards is made up of photography specialists – Genevieve Fussell, senior photo editor at The New Yorker; Roger Ballen, photographer and artist; Emilia Van Lynden, artistic director of Unseen; and Monica Allende, independent photo editor and cultural producer. The jury is able to give Honourable Mentions, up to six in the main prize, and up to three in the New Generation Prize.
Colin Pantall began photographing his daughter, Isabel, in the delivery room moments after she was born. From then on, “it was just constant”, he says. Previously, the pictures he took were architectural, environmental, sometimes historical; but becoming a father re-oriented him entirely. The transition wasn’t effortless. In the early days his experience of fatherhood was spiked with feelings of claustrophobia and intense anxiety – fear of Isabel’s death, fear of his own. A sense that he could easily become obsolete.
“Nothing that can prepare you for the shock of becoming a parent; you kind of lose yourself,” he says. “It drives you insane. But then you gain a new identity, only for that to die too, when you realise they have their own lives to lead. Then you have to have another rebirth. I don’t think it’s always that comfortable. Sometimes you wish things were different. You wish your children away at times. You always wish them back.” A much loved photography writer, teacher, and practitioner, Colin Pantall is launching his photobook All Quiet on the Home Front, this month on the Polycopies Boat during Paris Photo. It’s a thoughtful take on his daughter Isabel and the experience of raising her, designed by Alejandro Acin and published by ICVL Studio, which has already featured in BJP online and in print. Pantall’s now taken over BJP‘s Instagram, posting images from the book and more until Sunday @bjp1854. Check it out! http://colinpantall.com/ http://icvlstudio.com/ Polycopies takes place from 08 November-11 November on Bateau Concorde-Atlantique, Berges de Seine, Port de Solferino 75007 …
The Portrait Issue returns this September just as The British Journal of Photography launches the return of Portrait of Britain, which will once again appear on digital JCDecaux screens across the country, in partnership with photography giant Nikon. Portraits have a rare capacity to capture a person, family and community in a way that reshapes a narrative or empowers an entire group of people. Each photoseries in this issue manages to shed new light on an individual or group and move beyond stereotypes to find a more honest truth – whether with a Roma group in the south of France, or a working class neighbourhood in The Netherlands.
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.
“Photography can be a powerful way of telling a story and these photos remind us that people have been fleeing conflict and persecution throughout history,” says Tom Davies, campaign manager at Amnesty International UK. “We’re trying to engage with the public – and ultimately decision-makers – to show that forced migration is not new, [and that] how we respond is up to us.” He’s talking about the I Welcome show, a joint initiative between Amnesty International and Magnum Photos open on London’s South Bank from 07-18 December. Featuring work by nearly 20 Magnum photographers, including Moises Saman, Philip Jones Griffiths, Thomas Dworzak and David “Chim” Seymour, it presents the depressing but inescapable truth that refugees have long existed, and in doing so provides a wider context for the current, ongoing crisis. “We felt that linking up with Magnum was a good way of showing that historical context,” explains Davies. “We were aware that it was Magnum’s 70th anniversary in 2017, and that they had an amazing back-catalogue of incredible photography, so we felt that in …