BJP’s annual Cool + Noteworthy issue is back, presenting the people, places and projects that have caught our eye over the past year.
Among this year’s noteworthies is the photographer behind our cover story, Tyler Mitchell, who became the first black cover photographer of American Vogue when he shot Beyoncé for the September 2018 issue. He tells the BJP about his new-found mission since returning home after living in London: “I realised I have a responsibility to be, specifically, a black American photographer and filmmaker.”
We also spotlight Kensuke Koike, a Japanese collagist who gives new life to old photo albums. Koike has attracted a loyal following on Instagram with his savvy cut-and-move videos, making his latest book one of the most anticipated on 2018. Feng Li is another newcomer who has made waves in fashion photography over the past year. This issue we feature Li’s playful fashion shoot in his native Chengdu, a creative city on the rise in China.
“Everyone talks about 1968 as the year of revolution, but America was burning in 1967,” says Mark Sealy. “There were many riots and disturbances that year, but Parks was looking at intimacy, not running across the country shooting riots. He was telling history through these very personal stories.” He’s talking about Gordon Parks, the feted documentary photographer and film-maker (best known for directing Shaft). In particular Sealy is talking about Parks’ work with the Fontenelles, a family living in poverty in Harlem in 1967 that Parks photographed for a 16-page story published in Life in March ’68.
Elliot Erwitt was just 22 years old when he was commissioned to shoot Pittsburgh, Pennsylvania by the legendary Roy Stryker in 1950. Stryker had won fame and lasting respect for his work with the Farm Security Administration in the 1930s, commissioning photographers such as Dorothea Lange and Walker Evans to shoot America’s rural heartland at the height of the Depression; by 1950 he was working with a new organisation, the Pittsburgh Photographic Library, charged with shooting the formerly industrial, notoriously polluted city as it transformed into a modern metropolis. Stryker had met Erwitt when the youngster was still studying in New York, and had commissioned him to work on a Standard Oil project alongside photographers such as Berenice Abbott, Gordon Parks and Russell Lee. The young image-maker must have impressed him because, when invited to document Pittsburgh by the Allegheny Conference on Community Development, Stryker commissioned Erwitt and – unusually for him – gave him free reign to shoot what he liked. Erwitt shot on the project for a year, until he was drafted into …