Iran “is such a complex place that people will, of course, tell you not to go there”. In the first chapter of an ongoing body of work, the Melbourne-based photographer challenges the “narrow and misleading” ways in which the Middle Eastern country is often portrayed
From the bustling cities in the work of Eamonn Doyle and Guy Tillim, to Mark Power’s survey of decaying American landscapes, and a collaboration between Clémentine Schneidermann, Charlotte James, and a group of children in South Wales – this month’s issue is dedicated to the idea of the street as a site of theatre and historical spectacle.
Portrait of Britain 2019 is open for entries. Now in its fourth year, the groundbreaking award has grown an enormous following both at home and abroad; last year, it was featured across international media outlets, from The Guardian to Sky News. Portrait of Britain is now the largest exhibition of its kind in the UK, and each year 100 winning images are displayed on outdoor screens right across the country, with 200 shortlisted images collated into a Portrait of Britain book. Calling for portraits that capture the face of a nation in a historic moment, the award is set apart by both its unique scale and its timely subject matter. The kind of exposure that Portrait of Britain brings is invaluable for photographers. But how does it actually feel to be included in the biggest exhibition of contemporary portrait photography the UK has ever seen? To have your work celebrated in the press and on TV? And to be featured in a hardback book that people across the globe will cherish for years? We spoke …
A shortlist of six images have been announced for this year’s World Press Photo of the Year, and three photographers shortlisted for a new award that celebrates visual storytelling – the World Press Story of the Year.
The six images shortlisted for World Press Photo of the Year are: Victims of an Alleged Gas Attack Receive Treatment in Eastern Ghouta by Mohammed Badra (Syria); Almajiri Boy by Marco Gualazzini (Italy); Being Pregnant After FARC Child-Bearing Ban by Catalina Martin-Chico (France/Spain); Covering the Disappearance of Jamal Khashoggi by Chris McGrath (Australia); Crying Girl on the Border by John Moore (United States); and Akashinga – the Brave Ones by Brent Stirton (South Africa).
The three nominees for the World Press Story of the Year are Marco Gualazzini (Italy), Pieter Ten Hoopen (Netherlands/Sweden), and Lorenzo Tugnoli (Italy) – making Gualazzini the first photographer to have been nominated for both the World Press Photo of the Year and the World Press Story of the Year.
British photographer Iain McKell is publishing a book of photographs from 1976, which he shot on the side while working as a seafront photographer in Weymouth, south-west England
In the early 1900s, Paul Thulin’s great-grandfather settled on the coast of Maine, reminded of his homeland of Sweden. Thulin’s family has returned to Gray’s Point each summer ever since, and Thulin has been working on a project there, called Pine Tree Ballads, for over a decade. Initially inspired by his grandfather’s photographs, he hopes it has “a subtext of struggle and hope that mirrors my narrative sense of self and heritage”.
BJP: How did you first get into photography?
PT: My journey into photography started as a way to rebel against my growing contempt and frustration with the limits of language to effectively communicate. In 1996, I returned from a stressful year of studying Philosophy in a Master’s program at Syracuse University and I remember wanting to escape into the mountains to possibly join a Zen monastery. I wanted to meditate and remain silent in an effort to really just experience the world.
This desire led me to discover the writings and images of photographers Minor White, Frederick Sommer, and Emmet Gowin, as their mystical and spiritual use of photography intrigued me. Before I knew it, I borrowed a 35mm camera to try to make meaningful images of my own and I was hooked.
In the mid-1960s, a vast concrete housing estate began to rise out of a neglected marshland on the south bank of the River Thames. Headed by the Greater London Council (GLC), the scheme was seen as visionary; Thamesmead would provide a marina-esque lifestyle with plenty of greenery, and wide walkways that connected housing with schools and local amenities, all set within striking brutalist architecture. Thamesmead was to be the “town of tomorrow”.
Five years ago though, it was announced that the estate would be undergoing a huge redevelopment, and now a new book published by Here Press, titled The Town of Tomorrow: 50 years of Thamesmead, celebrates its part and present.
This month, we present a small selection of work that will be shown at Format festival, which returns to the Quad Arts Centre in Derby, England for its ninth edition this March. Under the theme Forever/Now, our edit of notable projects emphasises the festival’s slant towards ‘crooked’ documentary practices, where a lack of subject or search for the unknown is filled by fiction and interpretation.
An interview with Don McCullin is never going to be a dull affair – he is a complex man who has told the story of his life many times before. He is unfailingly polite and gentlemanly, but one detects a slightly weary tone as he goes over the familiar ground. He often pre-empts the questions with clinical self-awareness.
The story of McCullin’s rise from the impoverished backstreets of Finsbury Park in north London is one of fortuitous good luck, but it didn’t start out that way. Born in 1935, he was just 14 when his father died, after which he was brought up by his dominant, and sometimes violent, mother. During National Service with Britain’s Royal Air Force, he was posted to Suez, Kenya, Aden and Cyprus, gaining experience as a darkroom assistant. He bought a Rolleicord camera for £30 in Kenya, but pawned it when he returned home to England, and started to become a bit of a tearaway.
Redemption came when his mother redeemed the camera, and MccCullin started to take photographs of a local gang, The Guvners. One of the hoodlums killed a policeman, and McCullin was persuaded to show a group portrait of the gang to The Observer. It published the photo, and kick-started a burgeoning career as a photographer for the newspaper.
Then They Came for Me On 19 February, 1942, President Franklin D. Roosevelt signed Executive Order 9066, setting in motion a process in which all Americans of Japanese ancestry living on or near the West Coast were imprisoned. In total, 120,000 Japanese Americans were forced to leave their homes, moving into detention camps in which they were sometimes literally held behind barbed wire, without recourse to due process or other constitutional protections to which they were entitled. It was, argues a forthcoming exhibition in San Francisco, a “dark chapter” in American history, motivated by “fear-mongering and racism at the highest levels of the US government”. Titled Then They Came for Me: Incarceration of Japanese Americans during WWII and the Demise of Civil Liberties, the exhibition features work by both noted American documentary photographers such has Dorothea Lange and Ansel Adams and incarcerated Japanese American artists Toyo Miyatake and Miné Okubo. American Winter by Gerry Johansson “For me it is important not to create a story with the pictures,” says Gerry Johansson. “Normally when you edit you …