The photographer spent three months on the remote island, home to only 43 people, creating an in-depth look into a community with a troubled past
From a piano tuner jailed for taking direct-action, to an 87-year-old activist, Rhiannon Adam documents anti-fracking campaigners outside of the protest context
Rhiannon Adam investigates the UK fracking debate. Her work sheds light on the stories of individuals both for and against the contentious practice
Rhiannon Adam spent four months immersed in the UK fracking debate. Her intimate portraits offer a glimpse into life on the frontline of the fracking resistance
A hairdresser, Vivienne Westwood and an 87-year-old activist: a photographic series that tells the stories of those for and against the controversial practice
Winner of BJP’s Fractured Stories commission, Adam is currently based at the Preston New Road site working on an ongoing project
Photographs of a woman holding her baby, two shoppers, a drum majorette, and a child from a remote village in Sierra Leone have all been shortlisted for the National Portrait Gallery’s prestigious Taylor Wessing Photographic Portrait Prize this year. The prize winners will be announced at an award ceremony at the NPG on 16 October, with the overall winner receiving £15,000 and other cash prizes awarded to the shortlisted photographers at the judges’ discretion.
Two of the images were shot in London, with Max Barstow behind a striking photograph of two women in a busy shopping street in the city centre. The image comes from his series Londoners and in it, he says, his aim has been to “make unposed portraits with the intensity of images made by great studio photographers such as Richard Avedon and Irving Penn”.
“If we tell the story differently, we can instil viewers with a sense of urgency, or, at the very least, a curiosity about the subject of fracking”
An exclusive British Journal of Photography commission gives one photographer the opportunity to capture the untold stories surrounding fracking in the UK
Alighting at Peckham Rye train station in south London, a short walk across a busy market street takes you to the Bussey Building complex, a former cricket-bat factory that is now home to an assortment of bars, music venues, yoga studios and art spaces, including the Copeland Gallery. This bright exhibition space is once again the main site of Peckham 24 festival of contemporary photography, celebrating its third edition this year and running over the weekend of 18 to 20 May to coincide with Photo London – more than the 24 hours with which it launched and gave it its name. “Last year we were literally pushing people out of the door at midnight,” laugh the co-founders, Vivienne Gamble, whose Seen Fifteen gallery is in a nearby space, and artist Jo Dennis.