“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.]
We spoke with Bristol based photographer Josh Adam Jones about his new in progress series XO. Unearthing stories about the expatriate communities of Muscat in Oman. Jones concentrates on the relationship between locals and outsiders. As an outsider himself, Jones has created an intimate exploration of the diverse and colourful culture, working alongside the people Oman Jones was fortunate enough to work with The British Embassy and Oman Tourism College to create this stunning series. Visit this GoFundMe page to support this project and the publishing of XO as a book.
Leah Wareham’s work, Saggar Maker’s Bottom Knocker is a celebration and documentation of the world-renowned heartland of the British pottery industry, Stoke-on-Trent. Although the area saw a steep industrial decline in the 1970s the industry has by no means disappeared. Wareham’s photographs depict the skill and pride of the talented individuals who keep this traditional industry alive, while reflecting on the new potters drawn to Stoke because of its prestigious history.
Taylor Dorrell is a photographer based in Brooklyn, New York, whose photographic practice predominantly focuses on different aspects of American life. Taylor grew up in the rural south and moved to Ohio at 16 where he finished high school. In 2017 Taylor earned his BFA in Photography from the Art Academy of Cincinnati and made the move to New York City.
South Wales based photographer, Matthew Eynon, focuses his work towards street and documentary photography through the forms of society and subculture. We did a short interview with Matthew about his project, Swansea Mods.
New Brighton Revisited Exhibition, the group show bringing together for the first time pictures of internationally renowned British photographers Martin Parr, Ken Grant and Tom Wood. The images shown in the town from which the pictures stemmed, this innovative exhibition recorded 3 decades of New Brighton through the eyes of the 3 photographers as they lived and worked in the town. This fantastic exhibition would not have happened if it wasn’t for one person, the truly inspirational Tracy Marshall Founder of Northern Narratives, we caught up with Tracy to discuss the exhibition, experience of arts education and much, much more. We would like to give a special thank you to Tracy Marshall for all the work that she has done to create and support so much for photography within North West.
After returning to University at 34 years old, Robert Darch is now amongst many things, a photographer, a curator and an educator. Working hard within communities and running a collective for 16-21 year olds, Darch has been working on a number of his own successful projects that this year will be exhibited alongside the likes of Martin Parr and Tish Murtha at Distinctly Britain, in Pingyao International Photography Festival in China. Robert describes his work as being “motivated by the experience of place” and states that his projects are almost always initiated by an emotional response to a particular landscape. We got the chance to speak to Robert and ask him about his practice.
Archiver and daughter Ella Murtha discusses the work of her late mother’s powerfully relevant and stunning images from series such as Youth Unemployment and Juvenile Jazz Band to the beautifully nostalgic family portraits, part of thousands of images that are Ella Murtha’s “final gift to her mam’. The Tish Murtha Archive. [This article was originally published on JRNL Magazine, a now closed publication from our Editor James Wrigley.]
Matthew Thorne’s work is focused around the relationship between people, land, mortality and spirituality, in this case, a photographic documentation of community and land. His works are focused works that return a more traditional, chemical, and human element to the photographic.
Our lives are filled with unremarkable moments and the routine of everyday life, uneventful moments that to most seem dull, boring and monotonous – a humdrum existence of where we are now and where we will be tomorrow. In 2001 documentary filmmaker Marc Isaacs installing himself inside the lift of a high-rise block of council flats focused on this mundanity; observing residents as they go about their daily business, producing one of the most affecting accounts of life in a London high-rise.
I’ve never really thought about the word community outside of it meaning the place where I live and have made my home. We often talk about organising within the community in a political context, but here the word is usually used by politicians to refer to people they actually have no desire to speak to beyond capitalising on a photo opportunity for their next election leaflet.
Landscapes are seldom just an observation of environment. They’re much more than that: a common causeway between the viewer, the photographer and the place, space, or vista – however you want to call it. Landscapes are recognisable: they don’t require leaps in the imagination, and we take them at face value. The traditional landscape is recognised as untarnished pieces of nature: their beauty is seen through a rose-tinted window as untouched by man. A true landscape however – especially in heavily industrialised nations like the UK and within Europe – is a constant cultivation: from the dry-stone wall, to where domesticated animals chew, the mountainside trail and the rock fall defences, all are subtle changes to the lay of the land even if to some we are more oblivious and it goes unnoticed.
A writer, photographer, curator and lecturer based in Bath, England. Colin Pantall’s ideas focus around domestic environments and the interaction between personal, environmental and historical narratives as experienced through his family. This month we got to speak to Colin, about his role as a photographer and the projects he’s worked on over past few years.
“The unknown leaves me feeling lost and overwhelmed. Humanity fails to ask and consider important questions to our existence. People will pray to a god that they have never seen or met, but yet the existence of extra-terrestrial life visiting earth is laughed at by some and claimed to be implausible by others. The question is why? Are people too scared to try and discover the truth? or have we been trained to desensitise ourselves from reality and ignore the rebarbative question to why or how we even exist. A Handshake with a Martian is a personal investigation into the ufo phenomena in the United Kingdom and investigates whether or not we have been visited before and if we truly are alone” – Samuel Fradley.
Daniel Harrington is a documentary photographer and recent graduate of the Manchester School of Art based in North London. Combining landscape and portrait photography, his work is concerned with the notion of community and the issues faced by those in neighbourhoods undergoing rapid social change. Having grown up in Hackney, Daniel has witnessed this change his own area throughout his lifetime, an experience which has drawn him to document the people and places caught up in a cycle of privatisation and gentrification which has seen the relationship between communities and the space they occupy change and erode at an unprecedented rate.
Hub City focuses on life in Williams Lake, British Columbia, a community in the province that has gone through significant cultural and socioeconomic change. Located in the Central Cariboo Interior, where individuals’ collective livelihoods and lifestyles have been, and are, currently heavily dependent upon certain industries–particularly the logging and mining industries, which have experienced some unstable periods over the last few years, leading to shut downs and increased unemployment. Generations of families have committed their lives and passed on an identity of working these jobs, becoming culturally bound to these careers.
Earlier this year, North West based photographer, Simon Bray, worked alongside Martin Parr on a commission set by Manchester Art Gallery. After studying Photography at Manchester Polytechnic in 1970-1973, Manchester Art Gallery brought Martin back to work on a series of photographs which would sit alongside work he made in Manchester whilst studying. Although a photographer himself, Simon Bray was invited to work as a producer on the project. We wanted to find out about the role and what it entailed.
Slavery is an ancient crime. As old as empires, older than machines. For as long as there have been jobs to be done and people who don’t want to do them, there have been poor helpless people pressed into slavery.
Marc Wilson’s practice focuses on documenting memories and histories that are set in the landscapes that surround us. Working on two long-form projects over the past 8 years, Marc’s has been working on, ‘The Last Stand’ and is currently working on ‘A wounded landscape’. Daniel Dale had the pleasure of chatting to Marc about his practice, photo books and family.