Burning colours, golden light, and verdant scenery fill the backdrops of Josh Aronson’s Tropicana. Backdrops populated with Floridian youth — artists, activists, skaters; a cast of characters donning bright clothes — young and free. “I grew up in a Florida, not unlike the one imagined here,” writes Monica Uszerowicz, in the book’s foreword — referencing the semi-fictional Florida city imagined on its pages. “A warm and lush haven of climbable trees and mulchy driveways, of coastal waters and grapefruit trees … And the perpetual light dancing on shower curtains, on tiles. Mesmeric and constant.” “And the perpetual light dancing on shower curtains, on tiles. Mesmeric and constant” Monica Uszerowicz Aronson also grew up in Miami, and several of the photographs were taken in the corners of his childhood home. It was both nostalgia and frustration that compelled him to conceptualise of the project: a desire to reflect on his childhood in Florida and challenge the often inaccurate representations of the state, which dominate popular culture — Miami Vice, the Florida Man meme, Spring Breakers. Counter to …
An early pioneer of colour photography and digital printing, the 77-year-old is best known for his cinematic, light- strewn images of Morocco, Russia, the US and his native Belgium. Working across six decades, he’s produced many books, including the recent East/West and Edges, both published by Thames & Hudson
“Plankton are intriguing and beautiful creatures,” says Japanese photographer Ryo Minemizu. “They symbolise how precious life is by their tiny existence.”
He’s been shooting plankton for 20 years, spending between two and eight hours underwater everyday recording the tiny creatures, which can be plants, animals, or other types of organism. Drifting in the ocean, unable to swim against the current, plankton are the most abundant life form on earth after bacteria, but measuring 2mm-40mm in size, are invisible to the naked eye. Minemizu has registered his own technique to photograph them, which he’s called Black Water Dive, and which involves setting a stage underwater using flashes and other forms of lighting.
“If you’ve been to Morocco I think you’ll understand that we’re a very colourful country, a colourful people. We see every colour being worn. In Morocco that there is the clash of colours and an attitude not to be scared of colours,” says Hassan Hajjaj. His latest exhibition, La Caravane, is about to launch at Somerset House, the first display for the British-Moroccan photographer in London in seven years. His work reflects on identity and culture, which has featured as a big part of his life and work since moving to the UK from a small port town in Morocco aged just 13.
“The idea was why don’t we go back to the market and put these clothes back in their home, back where they came from,” says Britt Lloyd, a young fashion photographer from North London. Working in digital photography for Showstudio, Lloyd has recently collaborated with Martine Rose and Machine-A to shoot a captivating menswear range which speaks to the communities of Seven Sisters and North London. Lloyd’s bold series does not follow traditional stylings of the male fashion industry, which she believes needs to change quickly.
“I’m not concerned with being an environmental photographer, I’m concerned with making images that make you feel something you can’t quite understand. There’s something that happens when you’re presented with what you can’t quite fathom.” In Matter, Michael Lundgren explores deserts in Spain, the US and Mexico but his landscapes are a departure from more traditional photographs in this field. He wants us to question the world around us and find a magical realism in life, death and our environment.