Akasha Rabut’s decade-long document of New Orleans delivers a powerful message about resilience and community during the current pandemic
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
100 large-scale newsprints in Rotterdam will present the work of 70 photographers who find inspiration in urban form
As a film and exhibition about Harold Feinstein launch in London during Photo London 2019, BJP-online speaks to their creators about the late photographer’s life and work, and the responsibility of presenting it today
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.
“People always ask me why I stopped photographing people,” says Anthony Hernandez, who in the mid-1980s, moved away from the black-and-white street photographs that had made his name. He was 17 years into his career and an artist in residence at the University of Nevada, Las Vegas, when he made the shift; initially thinking to photograph the infamous strip, he ended up travelling into the desert and making pictures of the left-over target shooter debris for what was to become a pivotal project, Shooting Sites. What Hernandez didn’t realise till many years later was that this shift was unconsciously connected to what he calls his first ever “photographic gesture” at 17 years old. It was an image, which is now sadly lost, of an empty lot strewn with rusting car parts and overgrown weeds. “You might say that the 35mm street photographs were the start of my career. Yes, I did do those, but the real beginning was that empty lot,” he says. “Why I was attracted to that, I don’t know.” Hernandez was born in Los …
Publications we loved, and the big news stories from the last month in photobooks – featuring work by Peng Ke, Tom Wood, Paul Reas, Vivian Maier and the post-war PROVOKE group
Almost every Saturday between 1978 and 1999, Tom Wood travelled from his home in New Brighton by ferry and bus to Great Homer Street market, just outside Liverpool city centre in the North West of England. He would spend the morning there photographing the mothers and daughters, kids dressed in matching blue and lilac tracksuits, teenagers chatting away with their curly hair swept up into side-ponies, and grandmothers haggling for of a string of pearl necklaces or a second-hand coat. In the afternoon he’d travel on to either Everton or Liverpool football ground, then back on the bus and ferry, taking pictures every step of the way.
”God knows how many photographs I took,” he says. “When I first began photographing in Liverpool I was just overwhelmed by the people and the place. It was an exciting place to be, I fed off the energy there.”
She cradles a Rolleicord camera to her breast, her eyes staring into her reflection. Until recently, the woman behind the camera was unknown, living a quiet life as a nanny in Chicago and dying, alone in a nursing home, in 2009 at the age of 83. When Vivian Maier’s cache of 100,000 images were unearthed, her work was compared with the greats of street photography. A film was made, Finding Vivian Maier, which introduced a new generation to her work. But Maier herself was the draw; who, exactly, was the mysterious French nanny? What drove her relentless imagery, and why did she keep it so resolutely hidden?
Maier was a private but eccentric Mary Poppins-like figure, who spoke with a delicate French trill and was never without her medium format camera. She took thousands of photographs from the 1950s to 70s, but squirrelled them away in a room she forbade anyone to enter. She was poor, and in 2007 her possessions were auctioned off to recoup her debts – her archive of photographs among them. John Maloof, an estate agent and president of his local history society, discovered them at an auction and took a punt, hoping to find images for a book he was writing on the Portage Park area of Chicago. He found nothing relevant, and put the whole lot into storage for two years.
The shortlist for street photography exhibition MyTown has been revealed. Seagulls, greasy spoons cafes, and Notting Hill Carnival all appear in the shortlist, which captures the eccentricities of street life across the UK. Clear Channel, the outdoor media company behind the exhibition, will display the chosen images on their 3000 digital screens in public spaces across the UK. They will also host a pop up exhibition in London on 5 December 2018, where they will announce the winner. As well as the invaluable exposure of a nationwide exhibition, the winner will receive a X100F, Fujifilm’s premium compact camera, and a UK city break of their choosing. MyTown’s mission is to capture the diversity of street life across the UK, as can be seen in the wonderfully varied shortlist. The chosen images feature recognisable and quirky scenes in towns and cities across the UK, including Newcastle, Notting Hill, Brighton and Blackpool. This year, the competition welcomed thousands of entries from both established and emerging photographers, almost tripling the submissions to its first edition in 2017. The …