“Dusted” is a mining term, used when a miner dies from inhaling the silica dust that comes off the rocks in the process of drilling. This term was given to Sommer by the curator of the Queen Mine Museum in Bisbee, Arizona who used it to describe the conditions of mining in the 1800s.

In the past twenty years, western society has grown faster than was possibly thought imaginable. In his photographic series, Behind The Bank, Alessandro Iovino expresses how climate change, the boom in technology, demographic growth and many other aspects haven’t affected Italy’s river banks and the communities that live amongst them.

We spoke with photographer Jack Fleming about his portfolio so far, what inspires him, the importance of critical feedback and his experiences within internships.

The British countryside has been regarded as a retreat for many, seen as an escape from the constructed urban environment and a place of contemplation. However, this reflection is not wholly relatable as for its inhabitants these spaces present conflict between ideology and reality.

The Sea is Land’s Edge by Giulia Savorelli was made on Fair Isle, the UK’s most remote inhabited island, as part of an ongoing project documenting daily life in self sufficient communities.

Sergio Leyva Seiglie describes his practice as “an exploration of how we perceive belongingness and notions of identity through national and cultural identity”. A Cuban born photographer and now residing in Sydney, Australia, he speaks to Oliver Endicott about his most recent photographic series, Motherland.

Gut gut, German for “good good”, a phrase that Kate Schultze noted countless times whilst travelling through East Prussia in search of discovering more about her family history. East Prussia, the enclave of Russia and surrounded by Poland and Lithuania was the birthplace of her grandfather and further ancestors.

Our childhood is one of the most important times in our lives, it is when we develop and grow into the adults, a nostalgic period. South East London based photographer Alex Wheeler documents adolescence in a series that is best described in her own words. “Here is seven years of growing up.” [This article was originally published on JRNL Magazine, a now closed publication from our Editor James Wrigley.]

Patrick Lewis Dowse is a documentary photographer from the North-East of England and recent graduate from University of the Arts, London. Working on a long term project he has been documenting the ex-mining villages in the North-East of England. Photographing the people and the communities residing there, his most recent project titled “Community Embers” is part of an ongoing body of work. Working with portrait and landscape he aims to explore the impact of the social economic change that occurred in the North-East of England in the mid-to-late 20th century and the impact that has on the area in the 21st century. Patrick is currently assisting Chris Steele-Perkins on his most recent project – The New Londoners.

We chatted to Mon Levchenkova about her final major project at LCC and why she based it around her hometown of Hampstead, London.

Baptist Town is a neighbourhood in the Mississippi Delta town of Greenwood, surrounded on all sides by train tracks. In a community of only around five hundred people there is roughly a ninety percent unemployment rate. Many scenes from The Help were shot there, because not much has changed since the 1960s in regards to the architecture and the socioeconomic landscape. It’s as close as it gets to a community which has been completely passed by. It’s a feeling that seems to be synonymous to an extent with the feeling of many parts of America, even if it isn’t quite so explicit as in Baptist Town. Sin & Salvation is the documentation of that space, as a part of the series The Invisible Yoke.

With social media as its platform, family photography has found a new forum, a new way of showing the family, no longer hidden or medicalised in the private domain of the family album. I spoke with photographer Jenny Lewis about her beautiful series of portraits from One Day Young, Lewis’ portraits of women and their newborns are taken within 24 hours of birth, showcasing extreme intimacy and power with these new mothers, a true celebration of motherhood. [This article was originally published on JRNL Magazine, a now closed publication from our Editor James Wrigley.]