“I want to provide positive representations of people of colour and people from under-resourced areas,” says Deal, who dedicates his practice to uplifting cultural representations of his community
“Their stories are also my story,” says Çimen, a self-taught photographer whose work explores the experience of young Islamic women in Turkey
Driven by loss in his own family, Yael Martínez explores the pain and violence inflicted by organised crime on families in his home-state Guerrero
Multistory and Susan Meiselas have launched a print sale fundraising for The Haven — a shelter for women and children facing domestic abuse in Sandwell. We revisit an interview with Meiselas discussing the work, created in collaboration with the shelter and the individuals it serves
Beginning at 8AM EST on Monday 28 October, and running for five days until midnight on 01 November, the public will be able to purchase signed or estate-stamped, museum quality prints by the world’s leading photographic artists, for only $100. This opportunity comes once each year, this time bringing together works centred around the theme ‘Hidden’. Celebrating photography’s function as a vehicle for showing what is neither accessible nor visible to the majority of us, each of the 100 images shed light on the things around us that are otherwise overlooked. From remote societies to elite fraternities, and isolated places to objects so common we don’t stop to look at them, the photographs reveal hidden things, places and lives. In some cases, it is the images themselves that are hidden; Thomas Hoepker has shared an unseen portrait of Muhammed Ali. On hearing about the ‘hidden’ theme, Hoepker “grabbed some folders of old negatives, and unexpectedly found another Muhammad Ali picture that I had totally overlooked until today.” Other images obscure or conceal; Susan Meiselas photographs …
From Henri Cartier-Bresson to Elliott Erwitt, Martin Parr, Bruce Gilden, and Richard Kalvar, a new book brings together over 300 images from some of the genres greatest practitioners
Over 10 days, Paolo Pellegrin and Kosuke Okahara produced a live display of their process from a pop-up studio in Kyoto, Japan
When the Portrait Gallery was established in London in the mid-19th century, its role was envisioned “to consist of those persons who are most honourably commemorated in British history”. Opening in an era when photography was still a new and untried technology, the National Portrait Gallery (as it later became known) was intended to be the national repository of the images, chiefly paintings and drawings, of those men and, much later, women who represented what was best among the British hierarchy of achievements, skills and aptitudes. Its function was to hold up a mirror to Britain that reflected its qualities back to those who came to observe them, as object lessons about how to aspire to, or more simply respect, the qualities and moral standing of the great and the good.
This conception of the NPG may still be widespread in the public mind, as even Martin Parr thought his work would be an ill-fit for a contemporary exhibition along these lines. “I never thought of myself as a portrait photographer,” he says, “and when I first met Phillip Prodger [NPG’s former head of photographs], I told him I had only a few celebrity portraits. I just put a lightbox together and sent them to him, though I was quite surprised at what I had.” Prodger, however, had other ideas, seeing in Parr the work of a social observer who could also offer a portrait of a nation at a key point in its history. So it is that the NPG put together Only Human, on show from 07 March to 27 May, bringing together some of Parr’s most famous photographs alongside a number of works never exhibited before.
“Chobi Mela continues the way it began,” writes Shahidul Alam. “Unyielding to power.” He’s referencing the very first Chobi Mela festival, which opened in Dhaka, Bangladesh back in 2000. Alam and Robert Pledge had painstakingly put together an exhibition on Bangladesh’s 1971 war, which a government minister – phoning at midnight – wanted to censor; rather than comply and remove the offending prints, Alam and Pledge moved the entire exhibition to a new venue, which opened at 3pm the next day.
“That is how we’ve always done it,” writes Alam, the founder of Chobi Mela. “Against the odds, facing the storm, with the wind against our face.”
Though he doesn’t mention it outright, it’s difficult to read his comments now without also thinking of Alam’s own recent experience, in which he spent 107 days in Dhaka Central Jail last year. The 63-year old photographer and Drik Gallery director was arrested on 05 August after stating in an interview with Al Jazeera that the wave of student protests in Bangladesh last year was a reaction to government corruption. He was charged with violating Section 57 of Bangladesh’s Information and Communication Technology Act (ICT) – which has been used in more than 20 recent cases involving journalists, most of them related to news-reporting – and was held for more than 100 days.
Fabiana Nunes is a Brazilian photographer based in Zurich, Switzerland. Having worked in the fashion industry for years, she frequently jets off to glamorous locations (including Paris, London, and New York) to cover industry parties as well as concerts, festivals and nightlife. Her favourite subject, however, is everyday life. The image that The Guardian editors picked as one of their favourite Portrait of Humanity entries shows a mother and child collecting shells on a Tanzanian beach. Though a daily routine for the subjects, it was an unusual scene for Nunes, who spends most of her days in hectic European cities. This encapsulates Portrait of Humanity’s motto: what’s ordinary to you may be extraordinary to someone else. We spoke to Nunes about the story behind the picture, and what being part of Portrait of Humanity would mean to her. What are your key interests as a photographer? I have always dreamed of visiting the places I’ve seen in pictures. My favourite subject is the diversity that I find while travelling around the globe. For me, photography …