In his latest exhibition, Fader presents Best Lives — portraits made by and for the queer community — alongside a powerful digital installation that maps LGBTQ hate crimes in America
“There is a palpable shift in the art world pushed forward by technology and global accessibility”
“What do I know about it? All I know is what’s on the internet.” So said Donald Trump in an interview in March 2016, after he was confronted about the legitimacy of a video he had tweeted, along with the claim that the protester it depicted was a member of ISIS. The video has since been proved as a hoax, neatly demonstrating the difficultly of navigating between truth and fiction in today’s digital landscape. In a world where even a layperson can manipulate images on their phone, and spread them to thousands of fake followers with one click, how can we begin to know what is #real?
It’s the kind of question that All I know is what’s on the Internet will pose, a new exhibition opening at The Photographers’ Gallery, London including work by 11 artists and collectives. It includes “social media machines” made by Australian designers Stephanie Kneissl & Maximilian Lackner, built to maximise activity and likes; and wall-mounted installations by Eva and Franco Mattes that reveal the lesser-known, surprisingly personal, world of online content moderators. Curated to draw attention to the neglected corners of digital image production, the show helps visualise the vast infrastructure of online platforms, and the enormous amount of human labour needed to keep it churning.
“There is this feeling that if someone has won an award, then it will not be a mistake if they are awarded again. But unfortunately selecting this way does not highlight fresh gems and talents. It just creates trends, but not excitement and new-comers. We at Gomma are not afraid to prize unknown photographers,” says founder Luca Desienna. This year’s awards are now open for submissions with past winners boasting solo exhibitions, international magazine features and photobook publications since bagging the award.
Portrait of Britain returns for a second year with 100 more images that encapsulate life the length and breadth of the UK. From almost 8,000 entries this year, the final hundred will now be displayed in a digital exhibition across JCDecaux screens in shopping centres and commuter hubs around the country throughout September. In partnership with Nikon, the photography giant, Portrait of Britain aims to show the social and cultural diversity of people in the UK and showcase everyday citizens and unsung heroes in a gallery of the people, by the people, for the people. Simon Bainbridge, Editorial Director at the British Journal of Photography, was excited about the latest portraits for 2017, saying, “Collectively, the portraits celebrate the unique heritage and diversity of modern Britain, as much as its thriving photography culture and the myriad styles and approaches they employ in their work.”
Fuji X-Pro1 owners who’ve been waiting for the next generation of their neat little digital rangefinder may well be feeling a good deal older than when they first started waiting. And those who didn’t buy, deciding to wait it out for the follow up instead, might have had the feeling that it was never going to arrive. They’ve kept their hopes alive largely because the original is so nice, but it has a few things that really need fixing. It is exactly four years since Fuji launched its first interchangeable lens compact system camera, and while it has introduced a number of very attractive alternatives since then, they have been just that – alternatives. The X-Pro1 is a very distinctive camera with its rangefinder styling and its unique viewfinder, and if that is the kind of camera you like to use the X-T1 isn’t going to fill its shoes. In a market in which we might expect updates for this sort of model every couple of years, the X-Pro2 seems pretty overdue. I suspect though …