1 November 2019
In the late seventies I persuaded my south London secondary school art teacher to let me out of school once a week to wander around art galleries.
One Wednesday I visited the Half Moon Photography Workshop which was under construction in Bethnal Green. I was made welcome in what was pretty much a derelict shop with offices where Camerawork magazine was produced and a photography resource centre being planned.
Explaining my interest in photography I was encouraged to find a ‘project’, given a box of paper and told to come back with some contact sheets. Returning with pictures of the Woolwich Ferry I’d show them and listen to advice from the staff and any photographer passing through.
Eventually my photography improved and I was confident enough to start a new subject.
I returned to Stornoway on the Isle of Lewis, a town where I’d grown up watching the comings and goings of fishing boats. I knew the skipper of one boat, the Fiery Cross, went aboard and photographed the crew at work as they fished The Minch – the stretch of water between the north west coast of Scotland and the Western Isles.
I photographed all aspects of the fishing and Harris Tweed industries as well as daily life and went back the following spring to spend another week on the Fiery Cross. By summer I was spending more time in Lewis than London and I took a job as an assistant with the local photographer, where we photographed anything from babies to oil rigs. All the time I continued to take my own pictures of daily life in the islands.
Eventually, deciding the life of a wedding photographer wasn’t for me, I returned to London where I visited the HMPW again. The place was still a building site, hidden behind hoardings but someone had an idea that while the gallery was still being built, they could have an exhibition outside and my pictures from the Hebrides were suggested.
A selection of my fishing pictures were stuck up with wallpaper paste. The country’s first fly posted photo exhibition - we decided at the time. I printed two sets of pictures expecting them to be vandalised, but they were never touched.
Years later people were telling me I should ‘do something’ with these now archive pictures. A co-incidental phone call from a PhD student researching photo organisations from the 1970s was the catalyst and I set about re-editing, re-discovering the work and finding previously overlooked pictures. Finally the photographs are being shown again. Expanding on the original fly posting show, they are this time indoors at the museum in Stornoway.
I find many of my pictures have an immediacy but after a few years start to look stale. Then they become dated and of little interest. But after more time has passed - as society noticeably changes - they start to become interesting again. I hope today’s young digital photographers are taking the same care to look after their computer files as I was able to do with my negatives. Hopefully in another forty years their pictures will also be a portal back to lost past and not just lost forever.
1 October 2019
'The River Within' is a photographic exploration of the Thames from source to sea from a kayak. Many people look at the Thames every day, but few see it in the way that I do, being so close to the water, I feel almost a part of it. To me, the Thames is a breathing, almost living entity, with its strong tides and constantly changing, silty waters. The kayak allows me into otherwise inaccessible places such as up tributaries, between houseboats and underneath pontoons.
With each picture taken from this small boat, we gain a unique and intimate perspective of the Thames, from ancient and contemporary London, boats and buildings to riverbed art and misty sunrises. The familiar Thames is reframed seen from so close to the water.
Kayaking photography must be planned to work with the ever-changing tides, weird currents and waves created by wind blowing against the tide and wash from passing boats. Juggling these ever-changing elements delivers constantly renewing opportunities to reveal hidden gems, as we look outwards from the River Within.
In 2017, I began work on 'The River Within' by photographing the very start of the Thames, where it is just a ditch in the Cotswolds and I had to work on foot until the water was deep enough for a kayak. I have reached London and will continue to photograph The Thames downriver until it flows into the North Sea on the East coast. The final paddling trip will be to photograph the Thanet Wind Farms, which are seven miles offshore in the outer reaches of the Thames Estuary.
I currently have an exhibition at the Riverside Gallery in Richmond called 'The River Within - London', which is on until the 16th of November 2019. The photographs feature London as seen from the perspective of a kayak, and are part of the longer-term project - from source to sea.
So, come and visit the exhibition and share a journey through London by kayak at The Riverside Gallery, Old Town Hall, Whittaker Avenue, Richmond TW9 1TP.
Admission is free. Gallery opening hours: Monday 9.30 am - 7 pm Tuesday 9.30 am - 6 pm Wednesday 9.30 am - 7 pm Thursday 9.30 am - 6 pm Friday 9.30 am - 6 pm Saturday 9.30 am - 4 pm Closed Sundays and Bank Holidays
Even if you know the river, you may find something new to surprise you.
The River Within is part of Totally Thames, presented by the Thames Festival Trust.
1 September 2019
About India, Sir Don McCullin wrote in a caption at his recent exhibition at Tate Britain, London: "...One finds one's camera held up to the eye for most of the time. It is, in my opinion, the most visually exciting place in the world."
After seven visits to various parts of the Indian subcontinent, I can only agree with his words: wherever you go, city, town or rural village, there is inevitably something to focus on and make satisfylng images, whether as one-offs or as a themed story.
Yet, the whole country is a paradox and a conundrum to our western sensitiblities and despite India's economic and social rise in recent decades there is equally inevitably the very reverse in the fortunes of many of its peoples, from persecuted tribals still living in the remaining forests, to those who choose to make the Rajasthan desert their home.
The picture I've chosen to showcase was made in 2013 on a personal trip to an animal fair in southern Rajasthan. It shows a typical early morning scene at the fair as the sun rises over the canopy to the left with a dusty, smoky atmosphere (from the animal dung fires!). We were just about the only westerners at the fair and the locals were friendly but mostly amazed that we showed so much interest in them, their animals, and way of life.
The gentleman pictured is holding is prized Marwari horse (note the naturally bent ears), and was insistent on me making the best of the opportunity to photograph him with his prized animal. It's always difficult to take in the astonishing variety of visual stimuli and to assimilate just precisely what is happening around you, but this situation occurred pretty much spontaneously as I expressed an interest in the horse and owner, and this allowed me to make three or four usable frames.
I'd like to believe the image shows the incredibly atmospheric nature of such places and the indigenous people who, despite many hardships, just get on with their lives and always manage a smile and handshake and, sometimes, even a smattering of English.
For me, the image brings alive not only the memory but incredible dignity and pride these people retain in circumstances that most of us would not care to imagine (but I make no claims to being a hardened photographer). For some reason, India has always appealed yet I didn't get there until 1998. Since that time, much has changed, particularly in cities such as Mumbai and Delhi, yet in the rural areas little seems to change despite tirades by the Indian government to rein in peoples such as the Rabari (or Reika) [camel and sheep herders], and their like.
At 69, I'm still able to make these visits and will do for as long as I can; the rewards are many and great, but I do worry that these rural lives will change, or worse, unwelcome change will be forced upon them. We cannot expect such situations to last forever, and they do not exist for our own satisfaction, and the archetypal image of the 'noble savage'. But, for the moment at least, we are fortunate enough to be allowed to observe and document such people and their extraordinary and ever colourful lives.
The showcase image (and all similar work) is part of a purely personal portfolio. The image featured in a portrait exhibition at the Cornerstone Arts Centre in Didcot, south Oxfordshire.
(Nikon DS3, ISO 6400, Nikkor 16-35mm f4 at 21mm)
1 August 2019
This image is part of a series shot at the 99th Indy 500 back in 2014 as a promotion piece for a creative studio called INK, where I am a part-time Art Director. It was a last minute decision to attend and with no official photo-access pass I would only be able to shoot ‘fan side’ and not track-side.
The overwhelming Americana was evident and inescapable, there was little in the way of brief, except for ‘come back with something cool’ and so I decided to focus on the people and try and get some candid shots mixed with race action.
As part of my process involves quite heavy post-processing I tended to shoot with what I call a ‘photoshop-eye’. I’m looking at things thinking, ‘I’ll chop that out, remove that’ etc. Many people were happy to pose, it was clear with a big camera people wanted to be photographed - so that made life easy. The overwhelming presence of stars and stripes was irresistible. With such a loose brief I was trying a lot of different things, styles, objects, details, people, but essentially in the edit, I settled on a short narrative-driven piece.
It was an excruciatingly hot day and I wanted that to translate in the work. I experimented with different filters and grades and paired down the look to what I started to determine as ‘sunkist’. A simplification of the palette into yellows, blues and reds, where the highlights are retained and there is a warmish hue to the sky. A bit of a crunch to finish and the project seems to visually tie itself together under that grade. From the point of finding ‘the look’ it was easy to edit in other shots, knowing they were going to follow that formula.
The project was featured on the ‘Photography Served’ section of Behance.
1 July 2019
When I took the Barbican pictures in 1975 I was in my 20s and really angry. I was angry at a lot of things. Angry at the inexorable march of the City building out eastwards, rolling over the houses that my friends and I were living in, demolishing the pubs we drank at, erasing the little old shops & cafés we used. Angry at the council 'decanting' my neighbours to Nowhereland, taking over and bulldozing any housing that the City didn't swallow to build places that we couldn't live in.
I was angry at all sorts of shit. Angry at the way the police stopped and searched us whenever we poked our heads out onto the street. The world around us felt structured to reduce us to an insignificant irrelevance. Designed to isolate us, to exclude us, to oppose us, to sideline the social causes – equality, racial integration, decent employment, affordable housing and effective health care – that we cared about.
A massive, imposing structure seemingly dropped from the sky, the Barbican typified a wider uncaring and absolute power over our environment. Its great weight, the unassailable concreteness of it, the way that it resembled a walled city with whole areas locked and gated against outsiders – all these came together to say “You are no part of this”. It was the very opposite of welcoming; reeking of wealth, only navigable by those who knew the secrets of its confusing mazes and owned the right keys.
Built to separate rich from poor, to make the wealthy wealthier, the Barbican obliterated a space previously filled with shops and housing and pubs and libraries. An organic ecosystem supporting people on low incomes, people who worked in the area, whose families had grown up there for generations was expunged.
The Barbican represented something profoundly anti-human. Its very structure boasted of its conquest. A hundred times taller than a human, its coldly invulnerable mass presenting only walls and barriers smugly impervious to human interaction, the estate seemed designed to emphasise the unimportance of our individual lives.
So I found the Barbican interesting as a symbol of all this. I didn't find it attractive, but I didn't want to make it look evil. I felt it would be more effective to show its nature as objectively as I could. I used a tripod to slow me down and make each view a considered one. (I was young and took myself very seriously.)
I think I only had one lens for my Nikon FTn – a 50mm f1.4 - but I was able to borrow a 20mm sometimes and I liked that for the way it showed the space. It was all shot on Tri-X, developed and printed in my Whitechapel squat. I suppose something slower would have been a more usual choice but I had a dodgy supplier of cheap Tri-X at the time and now I like the grain.
I've just published a Café Royal book on the Barbican, coinciding with this Summer's 50th anniversary of the first tenants moving in. I'm working on two other books; one will be another in the Café Royal series, part of a boxed set coordinated by London Metropolitan University, looking at protest in the East End in the last century; and I have just started on another, much larger, book covering my time in the '70s and '80s squatting in Whitechapel, which is planned for autumn 2019.
Longer term I'm planning a more analytical book on protest, using text from myself and others complemented by a series of video slideshows.
1 June 2019
For five years I covered car boot sales in Sweden. In the beginning, I just wanted to document these events as they unfold but very soon realising that this could be a much deeper project and I started to approach the whole thing as if it was a paid assignment. Over the years I visited more than seventy car boot sales and took more than 3000 photos. In the end, it became a book.
The reason? I liked the spontaneous and natural relationship between seller and buyer and that was the magnetic force that initially pulled me – the investigatory photographer – to the car boot sale. There is a special atmosphere at these car boot sales when the summer is warm and people from near and far are arriving, opening up the boots of their cars and with busy energy starting to display their goods, thinking: what will I sell today? Who will I meet? While the buyers filled with anticipation are wondering: what will I find today? Will it be the bargain of the century?
I very soon started to become a familiar face, especially amongst the sellers, who showed up on a regular basis. I started to interact with both them and the buyers and after a while got to know the rhythm of things. From the regular sellers, I learnt a lot. What to sell, how much to charge, when to say no to a persistent buyer who wanted to drop the price too much. But I also picked up a few tips and trick from regular buyers. The importance of arriving early, to stay focused, to wait to make an offer until you have chosen a lot of things from the table.
There is obviously a darker side to this as well. Many parents were very hesitant when they saw me pointing the camera towards their children. Quite often they came up and starting to intervene and interrogate what the hell I was doing. It is horrible that we have come to this stage that parents are afraid their kid will end up on a dubious website. I very quickly changed tack asking the parents for permission before even aiming the camera to any child. I also found that having a stack of small prints in my photo bag was useful to show explain to them what the project was all about.
Many times I also had a heated argument with older people who didn't want their photo taken. Most of them usually calmed down after some explanation. For some, I learnt that is was no point to stand there and start to explain the law to them. I just had to go about it in another way.
I usually went along with a wideangle plus a standard lens. An 85mm was in the bag as well if needed.
Malmstrom's book Car Boot Sale is available from Amazon.
1 May 2019
I’ve been a self-confessed motorcycle addict even longer than I have been addicted to image-making. So I decided it was time to combine the two passions and create a new body of work in the process. This image, from the Faroe Islands, is part of the resulting project, "Henge to Henge", a solo motorcycle journey from Stonehenge, England to the remote Arctic Henge in Iceland.
Between the years 2013 and 2016 I had flown back and forth between England and Iceland more than twenty times making “An Equal Difference", a book of photographs and text exploring Icelandic society. I wanted to experience the transition between lands and cultures in real time, and with a passport (while it lasted) that would see me through each border crossing without stopping. On September 11th 2017, I packed my bags with plenty of warm layers, two micro four-thirds cameras, some lenses, and headed from London to Iceland on a 250cc Kawasaki.
After crossing the channel at Folkestone into France, I rode through Europe, to the top of Denmark. At Hirtshals, I boarded a 56-hour passenger ferry to Iceland, which stopped off in the Faroe Islands before reaching its final destination. The Faroes archipelago of 18 islands is connected by a network of roads, sea tunnels, ferries and bridges and has a native population of around 50,000. In good weather, it is a motorcyclist’s paradise. However, when the British occupied these islands during the Second World War, they nicknamed them "The Land of Maybe”.
Sure enough, the next day I rode an hour to the neighbouring island of Vágar in near zero visibility, with frighteningly strong winds. The winding mountain roads which carved a hold along rocky cliffs (without railings) were breathtaking but terrifying on my light motorbike. The sights were breathtaking, the gusts of wind even more so and I did very little photographing en route.
Photographing by foot is far more convenient than by motorcycle, and much safer given the unpredictable late September Faroese weather. After arriving at my hotel, I took a stroll into town along the winding path down to the bay, which gave views of the fjords and the roads carved along their base. A modest house just across from the airport sat nestled in shrubs. If you visit this spot, you will not find it looking as it does here. The image, made with a full spectrum converted OMD EM5 camera, a 590nm infrared filter, and digitally manipulated, serves the imagination more than fact or document.
With colour infrared imaging, I am attempting to abstract notions of reality in the way that black and white photography does. In the colour correction phase, I often bring back elements of the image to its visible or "traditional" colour point, introducing the familiar alongside the unfamiliar. The process calls to mind a passage by G.K. Chesterton in his book Orthodoxy: “Fairy tales say that apples were golden only to refresh the forgotten moment when we found that they were green. They make rivers run with wine only to make us remember, for one wild moment, that they run with water.”
1 April 2019
This is the second ever camera obscura selfie. The first one is not so pretty; it’s just me on a chair, grinning. This picture was taken via the iPad in my hand, through a 5m x 3m portable camera obscura. This mk1 obscura used a 2800mm lens to project an image onto a 8'x6' screen inside. The image was focused by moving the screen, which is made from a translucent, flexible rear projection screen. A Canon DSLR, controlled by my iPad and a Canon app, photographed the screen inside the obscura. In this picture I am seeing how far the wi-fi generated by the Canon DSLR will stretch. I took this picture about three years ago.
This was the first time I had tested the practicalities of the beast. It all went into my van, but it weighed too much, was way too unwieldy, and was a pain to put up and take down alone. Or with help for that matter. Plus when the wind got up it became a total liability, and it nearly had me in the local creek once. It also looked a bit unattractive...basically a huge white lightproof tent. People really enjoyed entering the obscura however, and my students seemed amazed by what was going on inside, which I found surprising and joyful at the same time. They took great relish in photographing themselves and their friends with it. I learned some clear lessons with regards to what I needed to do for the Mark 2 version however.
This obscura used a lens, rather than a pinhole, so as to allow an image bright enough to be photographed from inside. The image thrown onto the screen is brilliant enough to allow the use of a mobile phone, which is important. Whatever camera you use allows you to capture the unique fingerprint which the obscura delivers. It took a long time to find a lens which covered a large enough circle and which had a wide enough angle of view, and which was fast/bright enough. In the end I found the 2800mm lens, and another 4000mm lens on ebay USA. The latter lens is fantastic but made it virtually impossible to fit inside the 5m long obscura when focused. When the obscura is used as a selfie camera, the photographer is also the copyright holder, so they own the image and can share it and distribute it however they like, which I think is lovely and helps deliver an important lesson.
After proving that my concept worked, I made another obscura. Instead of using scaffold poles and welding the focus frame, as I had done initially, I started with a fold up gazebo frame and some aluminium sections. The mk2 obscura is 2m x 2m, and uses an 800mm lens, which was hand ground for me by an ultra large format specialist in the states. He made me the lens for $400, which is incredible. The lens covers a 1.5m circle and has an angle of view equivalent to a 35mm lens on a 35mm camera. It has a square screen which is a nod to Instagram.
The principle of the Mk2 obscura is exactly the same, in that you can go in the camera, focus it by sliding the screen, take a picture of the screen, confuse yourself as to why everything is upside down and back to front etc. The only real difference is the smaller size and increased portability, and the fact that I hung the screen so that you can also tilt and shift the image. I can put it up in 15 minutes, and it fits in the boot of my car. Presently it is folded up above my desk. I decided to make it look more attractive also, so to that end I photographed many camera parts, from Box Brownies to iPhones, and created panels in Photoshop. I had the panels printed on fabric, and I drape the obscura in those. It actually looks like a huge camera now, and is much more inviting.
I built the obscura as a tool for others to use, for learning and teaching, and it has been used recently by all the new photography students at Falmouth University to photograph themselves during freshers' week. It has also been used in the studio, for portraits, for fun - and just last month, Martin Parr took his own selfie using the obscura. I am showing it to some primary school kids soon; I can’t wait, I think they will get very excited by it, especially if their teacher appears to them upside down. It is a wonderful thing, and it is delicious to see and hear people get so excited by what is happening inside. It was only after I had been playing with it for a while that I realised you could argue that a camera obscura selfie bookends photography.
1 March 2019
In 2012 working with Oxfam and in conjunction with the Daily Mirror newspaper and the Independent Magazine I returned to Southern Sudan. This was my second trip to the country, one year on from my first visit to cover the celebrations of the world's newest country South Sudan and it’s Liberation from Northern Sudan.
The country was still embroiled in a renewed civil war with the North and a myriad of other problems, one which included a major refugee crisis in the Blue Nile region of upper delta state near the border with Northern Sudan, where this image was taken.
Oxfam’s team in South Sudan was providing clean water, public health and sanitation in and around camps of refugees and internally displaced people.
While wondering around the Jamam refugee camp, I came across 12 year old Amir Nassar who was selling food snacks nearby from his little makeshift store. I only just noticed him out of the corner of my eye, whilst I was taking other pictures. It was his oversized jacket that caught my attention, I approached Amir who was happy to pose for my pictures and talk to my translator. This image ended up on the cover of the Independent Magazine and also featured on a nationwide poster campaign for Oxfam.
1 February 2019
I’ve always marveled at the thought that walking down the street any one person you see has a multitude of experiences and stories to tell, you take that one person and the stories you could tease out of them, and multiply that by everyone in the street and then the city, the country. So many stories, so many nuanced versions of life all informed by different upbringings and experiences.
And so it is with political views, a multitude of nuanced political views abound, and this has never been more obvious than in the streets of Glasgow, and Scotland, over these past few years.
After a decade of photographing in Japan I moved home to Glasgow in 2012, knowing the referendum on Scottish independence from the United Kingdom was going to be gearing up as we approached the 2014 Scottish Independence referendum date. I wanted to be back in the country to see it all, to experience it, and of course to vote.
I attended the rallies and marches of both sides, pro-Union and pro-Independence, trying to understand both sides of the argument, photographing it all, primarily for myself and distribution by my stock agency, photographing what we were told at the time was a ‘once in a generation’ referendum. For me, trying to describe in pictures the colour, energy and anticipation of what would come before us was the greatest challenge, but also the most rewarding part of the experience. It felt as if anyone in Scotland could have been there, on those marches. For both sides it was a peoples’ crusade: the divisions cut across race, class, gender and location.
Now four years on and not much has been settled; we’re still walking on daily-shifting sands of political information. A second Independence referendum continues to be a debated issue, and called for regularly by pro-independence campaigners, such as in this photograph from Bannockburn, when approximately 10,000 people marched, one rally in a regular series which took part across the country.
That independence referendum is still on a hand of cards yet to be played and for the time being kept close to the SNP’s chest. The political game of cards has seen many other hands played: the chaos of Brexit; Scotland welcoming refugees (as it always has) seeking asylum and the extreme minority Scottish Defence League staging rallies to espouse their hatred against them; at Faslane peace protestors continue to link arms and sing against Trident missiles which are still the true monster in the Scottish loch; and anti-Trump demonstrations taking place when the American President insults the people of Scotland, as elsewhere, with his below par versions of truth, except that Scotland is home to two of his golf courses.
There hasn't been a shortage of political theatre in the streets to watch, to listen to, and to photograph. Some views you can understand, some you wince at when you hear them spoken, but the one thing we can be proud of and take from it all, pro- or anti-, is that the people of Scotland are awake.
This picture and others from Jeremy’s series ‘Let Glasgow Flourish’, will be exhibited in the Document Scotland show ‘A Contested Land’ at the Martin Parr Foundation from 16th January until 16th March. After that the show will travel to Perth, Dunoon and Inverness throughout 2019.
1 January 2019
These two photographs are of Albina Rocheva, a young native Nenets woman from a Siberian reindeer herding family. The photo of her aged 13 (left), with her pet reindeer calf, I took in 2000 when I stayed with her family at their remote camp on the tundra in the northwest of the Siberian Arctic. The second photo (right), I took in 2017, of her aged 30, in the TV studio where she now works.
Albina might well have followed other members of her family and become a reindeer herder, but instead she went to university and graduated with a degree in civil management. While she was studying at university, she became interested in film making and took a film directing course. Today, she works as a presenter for one of the regional TV companies, where she hosts a weekly program that focuses on issues of the region’s native peoples.
These photographs are from a project that I am currently working on about changes in the cultures of the Arctic’s indigenous peoples. In recent years I have been revisiting some of the Arctic’s native communities that I have photographed in during the past 48 years.
Like many specialised areas of photography, working in the Arctic presents its own set of problems. The cold is the most obvious one, particularly in the winter months. Finding the right equipment that will function well for prolonged periods of time at sub-zero temperatures is challenging, particularly with today’s battery hungry DSLRs. In the days of film and mechanical cameras that functioned on mercury cell batteries, things were relatively straight forward. I once worked outside for an entire day with an old Canon F-1 which was powered by a zinc/air battery, and the temperature never got above -51°Celsius. Generally speaking batteries and extreme cold don’t get on well together. Nowadays, on winter shoots I travel with a bag full of spare camera batteries. They tend not to last long in extreme cold and when I am in remote camps, I usually don’t have access to electricity to recharge them. Most of the time nowadays I use Canon 5D Mk III which generally seem to work pretty down to about -40°Celsius, when they tend to seize up.
Living and travelling with Arctic peoples like the Inuit, Chukchi and Nenets requires that I travel light. I don’t want to weigh their sleds down with heavy gear. Also, their tents and other traditional dwellings tend to be small and sometimes crowded. I try and respect their space as much as possible and leave most of my gear, including my cameras, outside when I am not using them. This also reduces the problem of condensation which you get when you take a very cold camera into a warm tent. There are all kinds of waterproof bags for protecting gear on the market, but I usually keep my camera bag and other gear in large thick black plastic rubbish bags which are inexpensive and work well.
1 December 2018
On Saturday 17 August 1974 I decided that I would go to Southend-on-Sea in Essex and continue a project I was working on about British society, it was there that I found this middle-aged couple with their Austin Cambridge A50 and own deck chairs enjoying a sleepy afternoon in the sun.
I had been out of college for just a couple of years and was very busy making my living working on assignment for the Telegraph Weekend Magazine, New Society, Management Today and a host of other weekly publications, but always I wanted to shoot pictures for myself.
I have been documenting Britain for fifty years, it’s where I grew up, it’s the country I know and love. The Way We Were is not supposed to be a chronicle and comprehensive visual account of the social history of this period, but it is a personal view of ‘life’ that I encountered.
In 1968 I took my first serious photographs. I was a first year photography student at the London College of Printing and Graphic Arts – the LCP. I had moved to London, I was surprised and excited by what I saw. I became aware of a social reality and the political landscape, and I decided to document those aspects that interested me. It was the tail end of the swinging Sixties, the turbulent Seventies were awaiting. My photographs became narrative led as I began to understand the many contradictions that permeate British life; ‘the have and have nots’, the ‘top hat, cloth cap’ characteristics of society that were still very present at the time. I was intrigued by the way people inter-related or didn’t, what they wore - their dress code that marked them out as belonging to a certain class or aspiring to belong to an alternative tribe. I was a flâneur, I hung around on street corners, and made friends with strangers and tried to get myself invited back into their homes, clubs and work places to make more intimate photographs that revealed their lives.
I covered numerous weekend demonstrations, through out this period that pitted one political class, one section of society against another and the government. But always I attempted to get behind the more obvious news image; I was looking for other moments, spontaneous juxtapositions that gave depth and understanding to the demonstrator’s predicaments.
This was the midpoint in Prime Minister Harold Wilson’s 1966 Labour parties term in government. Over the next fifteen years the country was led by Edward Heath, Wilson once more and James Callaghan. In 1979 Margaret Thatcher, a Tory, became Britain’s first woman Prime Minister, she was to usher in another, entirely different era; Thatcherism.
90% of these photographs are taken on a Leica M2 or M3, Tri X film at 400 ASA developed and contacted by Grove Hardy. This was Bert Hardy and Gerry Grove’s darkroom in Waterloo. When Picture Post closed Bert became an advertising photographer and Gerry who printed for Bert at PP set up on their own. In nearly 50 years not a single contact sheet has faded, turned brown or yellow and the negs are exactly as they were when I collected them.
In early December Homer's new book My British Archive, The Way We Were 1968-1983 will be published by Dewi Lewis Publishing. Copies are available here. Please email Homer for details.
1 November 2018
For the ‘209 Women’ project, I was assigned Catherine West, MP for Hornsey and Wood Green. She is the closest female MP to where I live, and from reading her biography, she sounded pretty interesting. As well as speaking five languages including Mandarin, Catherine is a strong supporter of the campaign to remain in the EU and voted against triggering Article 50.
The first time I met Catherine was at a local park where she meets her constituents and incidentally we bumped into Jeremy Corbyn who was exercising there at the same time. This was totally coincidental and when I pointed out that Jezza was in eyesight, we went over to him for a quick chat and a selfie, which seemed appropriate.
After that first meeting, it was tricky to pin down Catherine with her busy parliamentary and personal schedules. I had originally arranged to take her portrait at Hampstead Ponds (in 2017 she established the All-Party Parliamentary Group on swimming), but instead I was invited to meet her at Wood Green Shopping Centre at a LGBTQ meeting where she would be making a speech along with David Lammy MP from neighbouring Tottenham.
I had managed to borrow a medium-format Hasselblad digital camera from the Pro Centre over the weekend so although the location wasn't ideal I had to make it work. I scouted the area to find a suitable spot to take Catherine's photo, as the immediate spaces around the event venue were busy and far too hectic for a portrait. I’m pretty used to thinking on the spot in my daily work and making something from nothing, but I had hoped to be a little more prepared - I would have to take Catherine away from the arranged meeting spot to get anything decent.
After her official speech Catherine obliged and we went on a tour of Wood Green Shopping Centre’s finest car park - thankfully the top floors were not being used so we had no trouble with traffic. The car park, with its spiral exit, is a recognisable building in the heart of Wood Green, so it did have potential for our portrait. The strong sunlight gave an added dimension and graphic element to the image and the shadow cast across her body kept Catherine out of any direct sunlight on her face. It was pretty windy as well, she folded her arms to stop the wind ballooning her dress.
I used a Hasselblad H5D-50, 80mm lens and a Profoto B1 to bounce a little flash off the white paintwork to lift the shadows.
1 October 2018
This single image shows the lower deck cargo as carried on the SS Thistlegorm, a defensively armed merchant ship that was bombed and sunk in Egypt’s Red Sea during the Second World War.
Derived from over 5000 individual images and shot over two dives this ortho photo shows the the densely packed cargo of lorries, fuel tankers and motorbikes as loaded into the ship. The image itself is derived from a technique called photogrammetry – the process of shooting hundreds or thousands of overlapping photographs before using special software to create a scaled and representative 3D model of the subject.
Working inside the wreck and 25m underwater is not without its risks and to shoot the 24,000 images to create a model of the shipwreck and its cargo photographer Simon Brown spent over 13 hours diving the site, with a further 64 days of computer processing time devoted to aligning the images, building the 3D models and textures and creating the derived images such as this one. The master image of the lower deck is scaled at 1mm per pixel and packs an amazing amount of detail into the single image. The SS Thistlegorm is one of the world's most popular dive sites.
This image is to be included in a forthcoming book that Simon has collaborated on, drawing together new research, 3D models and 360 degree videos to present the wreck in a totally new way – the book is due for publication on October the 6th, coinciding with the anniversary of the sinking of the ship. From that date the book should be available from iTunes book store here. More models of the ship can be seen here.
1 September 2018
I was asked to produce a set of images as an introduction to the exhibition “Chemistry of Bronze” held at the Black Swan Arts gallery in Frome, Somerset from May to July this year.
The open brief had just one caveat, that the process of lost wax bronze casting would be amply illustrated in the exhibition and I should avoid repeating this.
So I visited the foundry Art of a Fine Nature in Shepton Mallet, where bronzes for the exhibition were being made, and what caught my imagination was the fragments of the ceramic casings and spills of bronze which are a waste by-product of the casting process.
Swept into a skip, normally the waste would end up in landfill, but I spent a couple of hours sifting through the rubble and dust, pulling out pieces I found interesting until I had about 40 of various shapes, sizes and impressions.
I took them home and photographed them against black, presenting them as fragments of fossils or artefacts of great antiquity.
The gecko feet were the first fragments I was shown during my initial visit and they sparked the idea to return to find and photograph more of the beautiful pieces and elevate them from trash to art. The hardest part was finding the feet after they’d been tossed back into the skip at the end of my first visit.
Beautifully printed on photorag paper the prints made a real impact on visitors to the exhibition and are available to purchase as c-type prints. You can see the full set here.
1 August 2018
Si Barber is a freelance photographer based in Norfolk.
1 July 2018
Over the past 17 years (on and off) I have been photographing the fans and environment around Scottish League 1 football club Albion Rovers. The last five years in particular have been very fruitful and I have just finished an edit of images from 2013 to April 2018.
The photography is a self-initiated social documentary project about the people who volunteer for the club, as well as the faithful fans, all of whom work together to keep this small community club going. Albion Rovers are based in the Scottish working class town of Coatbridge which is about eight miles east of Glasgow. The town, like many in the area, has its roots in the Industrial Revolution with the main industries being iron works and coal mining, and the legacies of these are still visible in the area. With average gates of around 400, and most locals heading west to support either Celtic or Rangers, the club is frequently in peril but somehow always seem to manage to pull through, although over recent decades there have been various attempts to sell the stadium and ground share with local rivals Airdrie.
In these days of grotesque £500,000+ wages this project can serve as a reminder of grass roots football, its lack of funding and struggle to survive but still doing so with humility and fun. The photographs, I feel, capture the spirit of those involved in running a small club. The stadium will be 100 years old next year and hopefully some of my work will be exhibited in the ground as part of the celebrations.
This picture is one of my personal favourites. It was taken during the League 2 Championship Winners trophy presentation at the game against Arbroath in April 2015 and shows a timeless scene of two wee lads watching the game from outside the ground using missing brickwork as footholds. The project started by shooting on HP5 film which was developed and printed in my shed and the mono theme has remained in order to maintain continuity as well as a nod to the black and white past.
There is a photojournal - 'More Than Just A Football Club' - available in my website shop, and a small gallery of recent pictures here: Albion Rovers series
1 June 2018
It wasn’t very long ago that the world demanded travel guides to accompany them on their travels, and Lonely Planet, Time Out, Rough Guide etc all had juicy budgets for their photography. This was when the vast bulk of my work involved shooting for such clients, on the hoof, in a quite manic manner, effectively hunting for images from dawn till dusk, inside and outside - images that you HAD to find for a very loose brief, but didn’t know if you could find. It was quite exciting.
Since the advent of the smart phone and hence the effective death of the conventional travel guide, most of my photography assignments have involved the careful planning and placing of myriad lights, tripods and so on in specific places at a specific time of the day, and then, when the marketing director seems happy, squeezing the shutter. So it’s quite refreshing to have a photograph or a shot come to you, the way it used to. I was on holiday with my partner and three-year-old daughter in Copenhagen recently and we’d opted to spend the last half-day just over the bridge in Malmö, Sweden. I had a small kit with me (since we were on holiday!) - just the one body and a handful of decent lenses.
None of Malmö’s sites or monuments particularly grabbed me on this grey day, with the sun nowhere to be seen. So there we were at Malmö train station just before dusk, about to board the train back to Copenhagen airport for our flight home at the end of the holiday. I noticed some interesting possibilities within the train station itself. There was an instant contrast between the chaos in the colour, lights and patterns in the foreground, and the symmetry in the arches and pillars along the platforms in the background, with random silhouettes of passengers moving up and down these platforms. The huge glass doors in front of me were continually sliding open and closed revealing an ever changing mishmash of reflections… and then the one missing piece of the jigsaw puzzle presented itself ; a train began to slowly enter the station, and as it drew closer its headlights illuminated the tracks and the dark train-front came to life with the reflections of the magazines from the newsagents behind me, giving the picture a collage/decoupage effect. It became instantly the most satisfying photograph that I’d taken on the entire holiday.
US Presidential Candidate Al Haig bows out of the race for the White House, New Hampshire, February 1988. By Brian Harris
1 May 2018
The New Hampshire US Presidential Primaries take place every four years and the election results are considered to be the most important indicator of who the next US President is likely to be.
I was covering my first US Presidential campaign in 1988 for The Independent newspaper and as it was an open election without a sitting President there were about a dozen hopefuls from both sides of the political divide. The likes of Republican candidates Bob Dole and Pat Robinson, George HW Bush and Alexander Haig were going head-to -head with Democrats Michael Dukakis and Richard Gephardt, Jessie Jackson and Al Gore as well as many other also-rans. Thirty years ago, you would just phone a candidate's office based in either Concorde or Manchester and get their running order for the day, show up and cover the event. Normally there would be a couple of breakfast meetings from both camps, maybe a mid-morning visit or two to the local fire or police station followed by a lunchtime business meeting with some street work and flesh-pressing in the early afternoon. The big rallies were in the evening and made for TV evening news.
One afternoon after standing in the snow for some hours the Republican Candidate Alexander Haig came up to me and introduced himself…he had found out I was the ‘limey’ photographer and as a bit of an anglophile he was interested in what I was doing and how I found American politics compered to that in the UK. He was very friendly, arm around the shoulder kinda stuff, and he invited me to an evening private house meeting where he said I would get a good story.
The meeting was way out in the ‘boonies’ of snowy New Hampshire, very quiet and intimate, glasses of sherry and canapes…all terribly civilised. I was one of very few press in attendance.
The room went quiet and Haig spoke, quietly and with some emotion as he announced that he was standing down from the White House race and would be supporting George HW Bush instead…and with that he turned on his heels to collect his coat from the lobby with me in close attendance…and that is when I made this one frame, a dejected man having his coat put on for him, bowing out of his one and only grab for White House glory…but what makes the picture for me is his wife is in the background drink in hand seemingly oblivious to what had happened.
Al Haig was the White House Chief of Staff under Presidents Nixon and Ford and Secretary of State under President Regan, and was also Supreme Allied Commander Europe after his military career came to an end. After the attempted assassination of President Regan in 1981, Haig asserted "I am in control here"; except of course he wasn't. All in all, quite a tour de force and potentially a President in the making for real.
For those interested in real-life West Wing shenanigans here is a Wikipedia summary of what happened after Reagan was shot: Following the March 30 assassination attempt on Reagan, Haig asserted before reporters "I am in control here" as a result of Reagan's hospitalization, indicating that, while President Reagan had not "transfer[red] the helm", Haig was in fact directing White House crisis management until Vice President Bush arrived in Washington to assume that role. "Constitutionally, gentlemen, you have the President, the Vice President, and the Secretary of State in that order, and should the President decide he wants to transfer the helm to the Vice President, he will do so. He has not done that. As of now, I am in control here, in the White House, pending return of the Vice President and in close touch with him. If something came up, I would check with him, of course." (Alexander Haig, autobiographical profile in Time magazine, April 2, 1984) Haig was incorrect: The US Constitution, including both the presidential line of succession and the 25th Amendment, dictates what happens when a president is incapacitated. The Speaker of the House (at the time, Tip O'Neill, Democrat) and the President pro tempore of the Senate (at the time, Strom Thurmond, Republican), precede the Secretary of State in the line of succession. Haig later clarified: "I wasn't talking about transition. I was talking about the executive branch, who is running the government. That was the question asked. It was not, 'Who is in line should the President die?'" (Alexander Haig, interview with 60 Minutes II April 23, 2001)
I write about my time covering American politics and much more in my book "...and then the Prime Minister hit me"
1 April 2018
Assignment: PyeongChang 2018 - Winter Paralympics.
I had been in discussions with ParalympicsGB for a little while, relating to a personal project about disabled sports. During one of the conversations I mentioned that I would be in S. Korea during the Winter Paralympics with my wife, who is from that country. I was informed that they did not have any photographers representing them so this kicked off a dialogue about what could be covered and how things could operate if I were to work for them. Press passes were obtained and a contract agreed. I was to be working alongside another UK-based freelancer, who had experience of working at winter events, something I didn't have. I was lucky enough to be able to attend a couple of events at the Winter Olympics a few weeks beforehand and get a feel of the environment as well as consider the logistics of getting between venues to cover different events. Having a background in project management allowed me to work with the other photographer and arrange what we needed to cover for ParalympicsGB as well as covering a couple of other smaller commissions for the games that we both had.
My main focus was on Alpine Skiing and Curling, where GB had the best chances of medals. These were located at the two extremes of the Paralympics locations so involved lots of driving around. Sat in-between was the Nordic Skiing location. For those not completely familiar with Nordic Skiing, it covers 2 disciplines; Biathlon and Cross-Country. Nordic Skiing was not something that had ever held a big attraction for me, but watching GB's one athlete competing completely changed my perspective. Scott Meenagh was a soldier who whilst on tour in Afghanistan had his lower legs blown off. Only two years after taking up the sport, Scott was competing in his first Winter Paralympics, GB's first representative in twenty years. Watching Scott giving his all against some very seasoned athletes was quite inspiring. Maybe those of us that take photos are not supposed to get emotionally involved, but it was impossible for me as a competitive sportsperson not to cheer him on whilst I took photos of him on the course, after meeting him at a training session a day before the opening ceremony. I was only able to cover two of his six events, and he only had one day off. On both days his efforts saw him collapse over the finishing line.
The shot that is showcased is from the 12.5Km Biathlon event. It involves five laps of an undulating course which gave me a chance to capture images at a few different locations including where he was shooting at five discs on five occasions. For this shot I was standing in the TV gantry just beyond the finish line, surrounded by lots of other photographers with 400mm+ lenses. As Scott came to the line, I had been taking photos using a 200-400 zoom but switched to a wider lens as I wanted to capture the loneliness of it all.
Canon 1Dx. 70mm F2.8 1/8000th.
1 March 2018
March 17th 2018 will be the 50th anniversary of the anti-Vietnam war demonstration to Grosvenor Square led by Vanessa Redgrave & Tariq Ali. This photograph captures both of them at the head of the protest, with Redgrave holdling the letter later delivered to the US Ambassador.
In my final year at Guildford School of Art I heard about this big demonstration, borrowed the Department’s 35mm camera, hitched to London and walked at the head from Trafalgar Square to the US Embassy in Grosvenor Square. This photo was taken somewhere in Charing Cross Road while the march was halted for a few moments. It’s been exhibited at the National Portrait Gallery twice and is in their Permanent Collection. It and many others are available as high quality postcards, and this month, Café Royal Books are publishing a book of my photographs of the protest.
Throughout my career I’ve mostly supplied photos to book publishers and government departments. But the work I’m most proud of are the self-started projects: A.S. Neill and Summerhill School, Dunquin in Co. Kerry, the sit-in at Guildford school of Art, life at the Architectural Association School of Architecture where I was a part-time lecturer for seven years and a big project on repertory theatre (not yet published).
Last year I exhibited at the Bluecoat, Liverpool and the Architectural Association, London. This year there will be two exhibitions in Guildford featuring the sit-in photos. One at the Museum as part of a number of shows in the south marking the history of democratic protest in the 800 years since the Magna Carta and the other at the Guildford House Gallery with work produced by people who were students or staff at the time of the sit-in with information on how it affected them and their future careers/life. Plus an exhibition at Liverpool John Moore’s University, details to be confirmed, but probably including my photos of the Liverpool Free School from the 70s.
1 February 2018
Jonathan Webb is a specialist aerial photographer working in Great Britain and Germany. He has published a dozen books on aerial photography and is an Associate of the Royal Photographic Society.
1 January 2018
The Old Town of Hastings is a chocolate-box kind of place to photograph so I was up early to capture the predicted snowfall on New Year's Day 2010. I’ve always admired the unique black net huts situated by the fishing beach at Rock-a-Nore and they provided the perfect background to capture this brief snow flurry.
I guess you could say this was taken as part of my long-term personal project to photograph Hastings throughout the seasons although the Hasting tourism department has regularly commissioned my work when budget allocations allow (increasingly unlikely these days).
When I first began shooting this project, the two wooden fishing boats featured were very much part of the thriving fishing fleet but the ludicrous fishing quotas for small vessels has forced many a fisherman to scrap their boats and become part of the fishing heritage tourist scene. Help may be at hand for the future following the successful MSC (Marine Stewardship Council) certification of its plaice, making them the first British fishermen catching certified sustainable plaice in Britain.
Technically, it was pretty straightforward – The metadata records 1/160 at F8 ISO 200.
My camera was mounted on an old Benbo tripod and a large lens hood took care of any stray snowflakes on the lens.
1 December 2017
This image was shot for Chatsworth House. I was contacted by their in-house PR & marketing department in October 2016. They explained that the house is dressed to a different Christmas theme every year and in 2016 it was to be the Nutcracker. The house would be decorated in keeping with the classic Christmas Nutcracker tale and to help bring it all to life there would dancers portraying some of the lead characters like The Sugar Plum Fairy, Clara, The Prince and others.
The press launch was on the 4th of November before opening to the public opening the following day. As Chatsworth pulls in over 100,000 Visitors during the Christmas season I was somewhat excited and a little surprised that the opportunity had come my way to shoot the opening for them.
On the day things didn't quite go to plan for me. Everything seemed fine at first, but I began having problems with intermittent flash - sometimes it would fire, sometimes not, and sometimes it would just kick out a full power flash. Some rooms used as locations had lovely natural lighting, but in others there was a definite need for at least a burst of fill flash to lift the shadows. As I had only one flashgun with me the obvious step was to try my spare body but the problem persisted. I managed to work out that the flash would work pretty reliably if the camera was held to shoot a landscape format image, but it would often fail when composing an upright. At least working that out left me with a few techniques to maximise my success rate - keep the flash gun on one body and shoot mainly landscape with it, and when shooting uprights use available light, try to stick with shorter faster lenses and get closer, push the ISO up, shoot on continuous high speed, to increase the chance of catching a pause in any movement if the shutter speeds are too low to actually freeze it, and shoot in RAW which might help if I needed to try to rescue an image in post.
This shot is one of the earlier ones from the photocall, showing the Sugar Plum Fairy in the Painted Hall against the backdrop of one of the giant Chatsworth House Christmas trees. It was hand-held at the 80mm end of a Nikon 80-200. ISO1600 f4.5 1/40 sec. The ballerina went through three or four different poses for the photographers, holding each pose for a few seconds, a number of times. This was one of those poses. Was I lucky or did I maximise my chances of success with experience and techniques? I like to think the latter but you could argue I should also have been carnying a spare speed-light.
Frestonia, 1981. Putting the front door back after a police raid based on mistaken identity. By Tony Sleep
1 November 2017
Tony Sleep lived in Frestonia 1974-82, where he was a Minister of State for, he thinks, the Arts. He spent the last 40 years, mostly working on commission for magazines, housing groups and charities. He is one of the moderators, and a member of EPUK since 1999.
1 October 2017
Stuart Forster is a freelance photographer based in the north-east of England. In addition to taking on editorial assignments he photographs food and travel. His work has been published in national newspapers, plus publications such as National Geographic Traveller and The Grocer. He regularly posts travel stories on his blog, Go Eat Do.
1 September 2017
In September 2015 I was sent by the Guardian to cover the refugee crisis in the Balkans. I started by going to Budapest where thousands of refugees were stranded around the Main Train Station after the Hungarian government closed the borders.
I was sitting in London kinda depressed I wasn’t covering the biggest story of the day when the phone call came. And when I arrived I wasn’t prepared for the scale of the numbers of people involved. I am an immigrant twice over. As a teenager I went to the United States and then I came to the UK where I have lived over 20 years. So I am very sympathetic to the plight of refugees regardless of why they chose to make the journey. The vast majority where Syrians fleeing the civil war in their own country but they were joined by many Afghans and Iraqis. Occasionally we even saw Africans who somehow avoided the Mediterranean route. After a week the Hungarians eventually decided that Budapest couldn’t handle so many people stranded so they opened the border. Patrick Kingsley and I then moved south to document the flow into Hungary from Serbia. The Hungarians decided to build a fence and we watched as thousands made their way along abandoned railway tracks before they were prevented from crossing.
As the refugees moved north we moved south, covering the migrant trail from Serbia all the way down to the Greek border with Macedonia. The sheer numbers of people on the move was truly biblical. I felt unable to make an image that grasped the scale of what I was witnessing. The image you are seeing was taken on my last day after a month of non-stop reporting. I was photographing thousands of people waiting for a train to take them out of the Greek-Macedonian crossing at Gevgelija. It had rained heavily the whole day and everyone was drenched including myself. I could see that no matter how hard I tried to keep my cameras dry I was losing the battle and they kept turning off and failing when they were on. I saw a little Syrian boy crying from the misery he and his family were enduring as they tried to get to Germany. My cameras went dead soon after I made the image. And soon after that some Macedonian police tried to arrest me and confiscate my gear. They wanted to see the images I had made and of course I couldn’t get the cameras to work to show them. Finally I gave them empty Compact Flash cards to satisfy them. They believed I was making their country look bad. Back in the hotel my cameras came back on. They still work to this day. I was done regardless and soon headed to catch a plane back to London. I am still extremely grateful I had the opportunity to document the crisis. I really hated leaving and going back to London.
1 August 2017
Previously an art director working predominantly in the travel sector, Justin Foulkes decided he could no longer keep a lid on his passion for photography and in 2007 embarked on a life as a freelance travel photographer.
1 July 2017
Stephen Shepherd has been based in Gloucestershire since 2002 moving there from London after nine years at The Daily Telegraph. He now works for corporate and marketing clients in the South West as well as in education and for design groups. He still undertakes commissions for the national press including The Guardian & Observer, The Times and the TES.
1 June 2017
David Hoffman specialises in social issues photography.
Motivated by documenting what's become increasingly overt state constraint on our lives, I've spent some 40 years documenting a range of social issues from policing and racial and social conflict to homelessness drugs, poverty and exclusion. Protest, and the violence that sometimes accompanies it, is the theme that stitches my work together.
Editorial photography is an increasingly beleaguered profession. The erosion of press freedom, ever more intrusive policing and the undermining of copyright have created a perfect storm of obstacles. As a founding member of EPUK and Photo-Forum London, I'm now working on a very different front line. Engaging with regulatory bodies, collecting societies, the NUJ, the British Photographic Council and other UK photographic organisations as well as with commercial services protecting copyright, is the best way I can see to achieve a supportive ecology for professional photography and build a sustainable future for editorial photography.
1 May 2017
Simon Crofts is a freelance photographer living in Edinburgh who photographs in Eastern Europe and the countries of the former Soviet Union. He studied law at Oxford. He moved to Moscow at the time of its transformation from socialism into wild capitalism, and later became a photographer and lived in Poland for six years, where he met his wife, fellow photographer Sylwia Kowalczyk.
1 April 2017
Amanda Thomas is a fashion and portrait photographer working in both London and Bristol. She loves working with sustainable fashion brands and individuals, using creative photography to elevate an emotional connection with style and purpose. Having begun shooting in 1998, she recently celebrated 18 years in the industry. Her work is a hybrid of fine art and editorial styles as she likes to curate an idea and build on it so its fits in with the person and brief. Thomas recently worked with The Princes Trust, giving a talk about her work and the industry, along with a workshop about portraiture. It was sponsored by Huawei in connection with The Saatchi Gallery and their new exhibition ‘Selfie to Self Expression' which has recently launched.
1 March 2017
Cinzia D'Ambrosi is an Italian photojournalist and documentary photographer based in London. Her photo stories have exposed issues of marginalization, poverty and economic oppression in China, the Balkans and Western Europe. Her work has been widely published, including by Amnesty International, Huffington Post, Vice, the New Internationalist, Witness, the BBC and commissioned by Save the Children, Shelter, West London Zone and 4in10 to name a few. Her work has received recognition from the Justice and Peace Commission of the Hong Kong Catholic Diocese, Arts Council, nominated by the publisher Dewi Lewis and in the permanent collection of the Hellenic Centre for Photography in Athens, Greece. Her current and ongoing photo project ‘Hate Hurts’ brings to light stories from refugees and victims of hate crimes. If you would like to know more, or to support or endorse this project in any way, please email email@example.com. To see more of Hate Hurts click here.
1 February 2017
After graduating from York University Rob Scott took a job as a research biochemist at Bristol University but soon realised that he was more interested in exploring the world than spending a life in laboratories. While planning his departure for travelling, he found a bag of old camera gear that his brother had bought from Oxfam for £50. It contained a Nikon SP rangefinder along with 35mm, 50mm, 85mm and 135mm lenses. By happy chance, it was a true photojournalist's bag of kit, and in exceptional condition.
Although he hadn't taken a picture since he was six years old, he was instantly addicted and within months left the country with the camera and photography at the centre of his plans. Two years later, after being hospitalised for typhoid in the Himalayas and dengue fever in Singapore, and having had all the camera gear stolen in the jungles of Sumatra and replaced by insurance in Sydney, he arrived in the town of Kununara in the wild Kimberley region of north-western Australia. He picked up work for an Australian freesheet, and after achieving his first front page, of a competitor being gored by a bull in a rodeo, he decided to return to Britain. For the next decade he freelanced in London, Bristol and around the country, covering political issues such as the miners' strike and the anti-apartheid movement, as well as carrying out magazine portrait work, particularly for the music press.
In the early 1990s, after a year working on environmental stories in South America, he became chief photographer and manger of one of the largest editorial photo studios in the country, carrying out commissioned work for more than a hundred specialist magazines. Rob returned to freelancing in 2010 and has been working on 'Crafted in Britain: Britain’s Surviving Traditional Industries', along with other commissioned work since then.
1 January 2017
Patrick Eden has been a full time photographer since 1985. Sailing features highly in his portfolio due to his location in Cowes on the Isle of Wight, his birthplace. Patrick has also worked in India, the Caribbean and the US shooting a wide variety of assignments from editorial, sport and travel to advertising and aerial.
A small print run book of his early black and white documentary work on the Isle of Wight was published in 2015, with an accompanying exhibition.
Northern Lights over the mountains surrounding Reinefjord, Lofoten Islands, Norway (March 2012) by Rudolf Abraham
1 December 2016
Rudolf Abraham is a freelance travel and documentary photographer and writer specialising in central and southeast Europe. He is the author of ten books and his work is published widely in magazines.
1 November 2016
Stephen Shepherd started working as a national press photographer at the features picture desk of The Daily Telegraph, shooting the usual weekend supplement imagery, such as portraits and features. For over nine years he worked there on a freelance basis as well as shooting for a variety of business publications, consumer magazines and corporate clients. He then moved to Glouchestershire and has been based there for the past ten years while continuing to work in London for few days a month.
His current portfolio includes VR work, library shoots, commissioned work in education, press and in industry, and his clients include The Times Educational Supplement, Guardian & Observer, The Times, and The Express, in addition to corporate clients.
1 October 2016
After a degree in English, studying at drama school and then working as a journalist and lecturer in photography, Jessa Fairbrother completed an MA in Photographic Studies at the University of Westminster in 2010. She used this as a springboard to concentrate on yearning and performance meeting each other in photography.
These varied experiences informed her move towards an increasingly interdisciplinary approach to making work. She has gradually shifted from appearing within the image as its main subject to additionally embellishing the photograph’s surface after the event. The familiar and personal are her starting points, while recurring behaviours shaped by memory, role-play and visual consumption make repeated appearances in long term projects.
Publications include Spot magazine, Telephoto, Eyemazing, .Cent magazine and Blown. Awards include a travel bursary from a-n The Artist Information Company, UK (2016), the Genesis Imaging Award, Format Festival, UK (2013) and honourable mentions from PX3, Paris (2014) and Flash Forward, Canada (2009).
In 2004 her long term project on memorial benches in Pembrokeshire was supported by a grant from the Arts Council of Wales. Her work is held in the libraries of both the V&A Museum, London and the Museum of Fine Arts, Houston, the permanent collection of the NHS, and numerous private collections. Jessa’s work is currently on show in Handmade III at Anzenberger Gallery, Vienna. Conversations with my mother is a limited edition artist book available to view online here. The dummy was recently on display as part of the First/Dummy Books table from Photobook Bristol at Gazebook Festival, Sicily. In 2016 she was awarded a bursary by a-n The Artist Information Company to enable her to travel to New York where she has been invited to speak about Conversations with my mother this month.
1 September 2016
Andy Hall is a London-based freelance photographer with over 25 years of experience. His wide-ranging commissions has seen his work appear in numerous newspapers and magazines including the Observer, Guardian, Sunday Telegraph, Times, Newsweek, GQ, Red Bulletin magazine and Der Speigel.
The cashier in the Indian Coffee House in Nagpur, India by Stuart Freedman, from The Palaces of Memory - Tales from the Indian Coffee House
1 August 2016
Stuart Freedman is a photographer and writer based between London and New Delhi. A member of Panos Pictures he has, over the last two decades, covered stories from Albania to Zambia. His work has appeared in, amongst others, Life, Geo, Time, The Sunday Times magazine, Der Spiegel, Condé Nast Traveller and Smithsonian. He has been exhibited widely and his work has received recognition from Amnesty International, POYi, World Sports Photo, The AOP, The RPS, UNICEF and the World Press Masterclass.
His new book, The Palaces of Memory - Tales from the Indian Coffee House (introduction by Amit Chaudhuri) was a finalist for best photography book 2016 at POYi and is available from Dewi Lewis or signed, directly from the author by emailing firstname.lastname@example.org.
1 July 2016
John Walmsley studied photography at Guildford School of Art between 1965-68. His final year project on A.S. Neill and his democratic school, Summerhill, was published by Penguin Books in 1969. John has always been a freelance photographer, working for textbook publishers, government departments and charities amongs others. Most of what he considers his best work was self-started and self-funded, including many books with the writer Leila Berg - making the work simply because it was interesting. For several years in the 1970s John was a Fellow of the Digswell Arts Trust, living with other artists and running public photography classes whilst also being a part-time lecturer at the Architectural Association School of Architecture in London during its most vibrant period.
John's current exhibition ‘The 60s and 70s in B&W’ will be open at Guildford Museum from 2nd July to 10th September (closed Sundays) and covers the sit-in at Guildford School of Art, the Grosvenor Square anti-Vietnam war rally, the Liverpool Free School, Summerhill and much more.
To coincide with the exhibition, John is publishing a set of 26 postcards which are available from his website here: www.walmsleyblackandwhite.com
1 June 2016
Des Willie has been a photographer for twenty years working in film and TV but also in development, editorial and design. He lives in London and will just about work for food.
Patricia Glennie on her hill farm, Lauder, The Scottish Borders, April 2013. From the series Drawn To The Land
1 May 2016
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1 February 2016
Stephen Shepherd started work as a press photographer at The Daily Telegraph after moving to London from Oxfordshire.
I had a finite amount of money when I moved to London and hoped to get work with the national press. The money was rapidly running out when after about four months I finally got a commission from the features desk at The Daily Telegraph. I recall I was so keen to get it right I went back on two separate days to shoot it. Something that now would take an hour or so, had six hours lavished on it. However, I must have done something right as that job kickstarted my life as a freelance photographer and for the next nine years I was more or less staff at the paper working 4 or 5 days a week shooting everything from celebrity portraits, weekend page features and Op Ed commissions to the paper's famous “Pet of the week” and “My Mantelpiece” features.
Relocating to Gloucestershire some twelve years ago, I found that I had to diversify and create markets that were not solely based around the press photography I had been used to. Having had some success working for business clients during my last few years in London I began to nurture more contacts in this area, developing a client base who require creative reportage style photography for their marketing, branding, reports etc. I am now commissioned through various design groups as well as directly by clients to bring the skills I learnt as a press photographer into factories, on to construction sites, to work behind the scenes on corporate video shoots etc. My perfect commission is to work on location for a client who has the confidence to allow you free reign, to be able create a body of work that evolves through the day and to be able to develop a narrative in the work often from unexpected and unplanned scenarios or snatched opportunities.
1 January 2016
Following a successful career in advertising on the strategic side of things (latterly Strategy Partner running the London office of a network agency) Jane Hobson returned to education to pursue a photography degree in 2008. Finding herself under-stimulated by the course, she worked as an arts and entertainment photojournalist in parallel, as well as practically living with the drama and dance departments in the theatre next door. Having graduated and, drawing heavily from past business experience, she hit the ground running and continued to attend press photocalls within the performing arts. Jane is widely published in the national and international press, her client base for commissioned arts work steadily growing as a result of awareness of her published work.Her cherished clients include Sadlers Wells, National Youth Dance Company, Barbican, and Richard Alston Dance Company. Based in London and Edinburgh, she can usually be found (or not, as she tends to wear head-to-toe black so as to be unobtrusive in the auditorium) in a theatre, with occasional forays into the studio.
1 December 2015
1 November 2015
The Common Ridings in the Scottish Borders, photographed by Jeremy Sutton-Hibbert -the Three Brethen Cairns Summit
1 October 2015
Royal Burgh Standard Bearer Martin Rodgerson and his Burleymen attendants, arrive at the Three Brethren cairns summit, to check the boundaries of the lands, during the Common Riding festivities in Selkirk, Scotland, Friday 14th June 2013.
1 August 2015
1 June 2015
At 8:37 am on 16h January 2014 the North Yorkshire Fire Service received a report that Britain's largest waste tyre recycling site at Sherburn was alight.
1 May 2015
This woman is terracing land to prevent soil erosion. I photographed her in Tigray, Ethiopia while documenting a food-for-work scheme funded by a number of UK charities.
1 April 2015
This photo of the hundred-year-old Mariquita was taken during one of the most memorable and enjoyable days I had in fourteen years at IPC. I worked for the magazine Yachting Monthly but was often seconded to other publications in IPC’s marine division, on this occasion to Yachting World.
1 March 2015
This portrait of Begoña Cao, principal ballerina with the English National Ballet, was commissioned by The Independent.
1 February 2015
I have been photographing WWI and WWII Commonwealth War Graves Commission (CWGC) cemeteries since my first visit to Tyne Cot in Belgium on a school trip in 1969. During my time on The Times and The Independent I covered many stories involving veterans visiting the cemeteries, sadly no more. In 2006-7 I photographed the 'Remembered' project for the CWGC culminating in a wonderful book and a series of exhibitions which toured world wide.
1 January 2015
This is ‘The Burryman’. The origins of his annual procession through the town of Queensferry, near Edinburgh are lost in antiquity although we do know the tradition has remained largely unaltered since the last Battle of Falkirk in 1746.
1 December 2014
I found many homeless and lost people at Crisis who I already knew from St Botolphs’ and that made the work easier. It was crowded, often threatening and violent, often tearful and desperate – chaotic, unregulated and unexpectedly inspirational in its atmosphere of mutual acceptance and support.
1 November 2014
This picture was taken on an editorial commission in 2012. One of my regular collaborators, body art and makeup specialist Chris Dennis, was being profiled in an edition of the body art-focused US publication Illusion, and he asked me to shoot the job. That meant trying to squeeze four shoots into one day, achieving very different full-body makeup looks with four separate models in a simple on-location studio, working closely with a hair stylist, Peter Dragijevic, and Chris’ team of six assistants.
1 October 2014
This picture of a squirrel’s tail is one of a series of road kill pictures that I took after coming across the body of a Muntjac deer whilst driving in the Cotswolds.
1 September 2014
In the summer of 2010, much of central and southern Pakistan suffered devastating flooding of the Indus River due to abnormally heavy monsoon rain in the northern part of the country. A Disasters Emergency Committee (DEC) appeal was launched, and raised more than £60 million. I was commissioned by Tearfund, a DEC member NGO, to report on the situation a year later as relief supplies and rebuilding projects were well underway.
1 August 2014
The original photograph from which this Photoshopped image comes was taken back in 2004 when our commissioned work was declining and stock sales provided the main part of our income.
1 July 2014
This picture was taken on 21 June during the JP Morgan Round the Island Race. An annual event on the Isle of Wight since 1931, the race now attracts up to 1,700 boats and around 16,000 sailors, who sail in an anti-clockwise direction round the island. The starts are staggered over about an hour and are dictated by the class and size of the boats.
1 June 2014
It was a balmy early evening in Kuwait in March 1989 when Princess Diana stepped off of the royal plane with Prince Charles.
1 May 2014
After nearly 40 years of service with the RAF, this Westland Wessex now resides in the bottom of the National Diving and Activity Centre near Chepstow.
1 April 2014
This is one of a series of photos taken as part of a personal project, Standerwick Market, which I started in 2011. At the time, work was very slow and I needed to keep shooting, challenge my skills and find something which interested me.
1 March 2014
This photograph of piglets came out of a commission from the animal feed company Danisco, a subsidiary of Dupont. Occasionally a client won’t know exactly the image they want until they see it. Typically they are looking for something different to be used exclusively for a set period of time. This was one of those occasions.
1 February 2014
This image was taken during the main procession of the wild and wonderful Rijeka Carnival in Croatia. Held on the last Sunday before Lent, this is one of the largest Shrovetide Carnival processions in Europe – an enormous event with up to 10,000 participants from up to 100 carnival groups, and well over 100,000 spectators.
1 January 2014
This is a portrait of the illustrator Agnes Vincze who originally commissioned me to photograph her nude.
1 December 2013
I waited two years for this shot. I needed snow in Austria where the Wolf Science Centre is located at a time I was available. In January it all came together perfectly. This was a self-funded project to add the winter dimension to a commissioned summer shoot that I had done the previous year for Flipside magazine. The resulting portfolio of images with my text describing research at the centre has since been syndicated globally.
1 November 2013
The small, brightly coloured, plastic object in the photograph looks innocuous enough but is in fact, a lethal military weapon. Used by the Russian army, the PFM-1, anti-infantry high-explosive mine, also known as a ‘butterfly mine,’ was scattered from helicopters and from artillery during the Soviet invasion of Afghanistan.
1 October 2013
This is the Karakalpakstan once the flagship of the Aral Sea fishing fleet. She was named after the north-western autonomous republic of Uzbekistan.
1 September 2013
Why showcase an image that doesn’t look like a photograph?
1 August 2013
On my way back south from Scotland, where I’d been working for the Royal Society for the Protection of Birds, I stopped off in Northumberland to visit Holy Island and Lindisfarne Castle and take some stock photographs. It was 1983 and, in response to photolibrary needs, I’d forayed into medium format and bought a Mamyia C220 which I intended using mainly for landscape photography.
1 July 2013
At five-o’clock on the morning of 16 August 2012 a Deputy Sheriff working a traffic detail in LaPlace, Louisiana, was shot and seriously injured by assailants unknown.
1 June 2013
This was a one of those challenging shoots I enjoy putting together. The production was for a demanding client, an Austrian living in the UK who’s company was importing hosiery from Austria. The parent company had been sold and all their marketing collateral had been withdrawn, so the shoot was needed to replace a large range of images.
1 May 2013
These photographs come from Irish Tinkers: A Portrait of Irish Travellers in the 1970s, my newly released iBook which is a remake of the original publication which followed on from an exhibition of my work at the Photographers Gallery in 1976.
1 April 2013
This image is from a project exploring social networking. I had been resisting joining Twitter and finally signed up with a promise to make something creative of the experience. I was interested in the way that friendships and networks develop through social media and decided to explore this process by photographing a series of these connections.
1 March 2013
Every spring almond trees blossom on the hills near my home in Tenerife, and every year I’m drawn to photograph them. Some of the images are licensed through the stock agency Alamy and some I’ve sold as prints, but the real incentive is to savour the spring sunshine and capture what I love about the landscape of the island. It has become a small, annual, part of my documentation of places, events and traditions of Las Islas Canarias.
1 February 2013
I have travelled to Somalia several times over the years since 1994, the last time was in 2007 when I found the situation to be as anarchic as my very first trip. Somalia has always been a special place for me as it was the genesis of my career in photojournalism after several years working in Italy living La Dolce Vita for ABC News and Reuters.
1 January 2013
Every year a commemorative service is held on the docks in Hull to remember the 6,000 trawlermen from the city who have died at sea over the last one hundred years.
1 December 2012
I have been running my own self-publishing business since 1984. Nothing very special, just landscapes of the west country. I started a series of small, postcard sized books in 2001 and a couple of years later did The Landscape of Avebury.
1 November 2012
I have, on and off for the last few years, been making work in Delhi about those people that find themselves outside the tiny bubble of wealth that is, according to the advertising, modern India. Delhi was once a sleepy bureaucratic cousin to Mumbai but is now an island of ostentatious wealth floating on a sea of mediaeval squalor. Slum clearances are set against fairy-tale prices for real-estate and the city is viciously segregated between those that have wealth and those that produce it.
1 October 2012
Dancing the Night Away is an ongoing personal work about the Russian ballet tradition in Eastern Europe. This picture was taken during a concert of Don Quixote at the Lvov Ballet in Ukraine.
1 September 2012
A few years before I took this photograph a fellow student at college got a shot of the River Clyde during a ship launch. The image greatly impressed me – the view of Glasgow, the ship and thousands of pigeons taking flight because of the noise. I wanted a photograph like that.
1 August 2012
‘43 Gardeners’ Hands’ is a series of portraits of some of the UK’s best known gardeners, focused on just their hands. They were inspired by the fantastic working collages from the 1920s, of botanical photographer Karl Blossfeldt. His work is almost anatomical and I wanted to produce a series of images that turned each pair of hands into a botanical specimen, reversing the effect of his work.
1 July 2012
I’ve always been interested in documenting political news, and have photographed protest movements in the UK and elsewhere since before I became professional in 2010.
1 June 2012
This image of a jumping model was produced after I decided to stay on and take some stock photographs at the end of a catalogue shoot in Cape Town. In the past magazines would have commissioned their own health and beauty pictures, but now they mostly buy from agencies like Cultúra Creative who I have been supplying for four years.
1 May 2012
Cornelius Cardew was an avant-garde composer and performer with a day job at a publisher. We took some pictures on the publisher’s roof and then went to Cardew’s favourite cafe around the corner. It was 1970 and I simply don’t remember who commissioned the shoot.
1 April 2012
I’ve always been interested in photography of health issues. Since I left school my only jobs not photo-related have been in health or hospitals. This was one of my first commercially viable images after I left college.
1 March 2012
Shooting night photography is quite a challenge. Normally one would use a long exposure and a tripod, however from a moving flying machine this is not possible. Even a helicopter hovering in mid air has a significant amount of movement.
1 February 2012
When a number of Islamic political groups staged a nationwide strike in Bangladesh to protest against government approval of women’s rights legislation in April 2011, my job as a photojournalist was to produce a photograph that illustrated the division in society.
1 January 2012
When we attended the photocall for Robert Lepage’s project “The Blue Dragon” at the Barbican Theatre in London, we were given the standard three scenes to shoot, but shooting that day was particularly tricky as Lepage used a mixture of back and front projection which meant the theatre’s lighting levels could not be adjusted for the photocall.
20 November 2011
In Thailand and the surrounding countries, a parallel realm of the spirits provide powerful, everyday companions to mortal man. Many see the wearing of a certain kind of tattoo as a way of tapping into the power that comes from that world.
22 October 2011
This image was shot while on a commission to document the White Russian community here in the UK. The White Russians, as they call themselves are those whose families fled the Communist powers in the early years of the Soviet state. However they now include many recent immigrants.
12 September 2011
Professional photography has led me to take up the strange and sometimes surreal hobby of World War Two reenacting. Earlier this year a friend of mine who is a reenactor with a German Unit, the 21st Panzer Division, helped organise the Nothallerton Wartime Weekend, with money raised going to four charities.
10 August 2011
The Metropolitan Police has an in-house magazine called The Job and I was asked to shoot two sets of pictures of Sir Paul Stephenson for it when he became the new Commissioner in February 2009. The first set were portraits in his office and the second was of his address to a meeting of rank and file officers at the Methodist Central Hall in London the following morning.
11 July 2011
This photograph of a young ballerina was taken in South Africa in 2007. It was one of several personal projects I undertook during an eight-week trip to the Western Cape.
1 April 2011
I chose to become a photographer after seeing a TV documentary about Brian Harris photographing Sizewell Nuclear Power Station for The Independent in the early 1990’s. I started working at weekends in the darkroom of the East Anglian Daily Times and eventually went to Stradbroke College in Sheffield for the NCTJ course in Photojournalism, under the auspices of Paul Delmar.
4 March 2011
The Independent commissioned me to photograph Tilda Swinton at the 2001 Edinburgh Film Festival. She was promoting the film The Deep End at one of the city hotels. I arrived early to set up and saw her being photographed for Time Out. She looked amazing in a beautiful pale blue suit with that unique look of hers, a look I was hoping to capture. When the Time Out shoot ended she went upstairs to change.
1 February 2011
This shot of Eric Boateng training alone in his school gym was taken during a two-day self-assignment following the British basketball prodigy around in his daily life.
1 January 2011
This is one of a series of pictures of street prostitutes working in Bradford, West Yorkshire. They are intended to show what kerb-crawlers encounter before deciding to part with their cash.
28 November 2010
I’m lucky enough to live in one of the most beautiful parts of Scotland, surrounded by forests teeming with wildlife. This photograph was taken barely a mile from my village, but in a wood so isolated hardly anyone else visits it. My eight year old son is an avid bone collector, and we spend a lot of enjoyable time together in the forests and hills around our village, with him tracking the red and roe deer herds, and me with a 600mm on my shoulder.
24 October 2010
‘The River’ is from my series Memories and Nightmares, which are images inspired by stories of early childhood memories and nightmares which I’ve collected. This one, from my friend Kate, was particularly odd, and although it demanded some very specific elements I was determined to shoot it.
23 September 2010
This photograph was taken in 2005 in Jaffna, Sri Lanka. There was a ceasefire in the Sri Lankan civil war and I had been commissioned by a glossy magazine to photograph recuperating child soldiers, children who had originally been kidnapped by the LTTE and made to fight.
29 August 2010
This was shot in 2004 for Der Spiegel. We were doing a story on how the Uzbek state was using the USA’s war on terror as a means to control its own population under the guise of fighting Islamic extremism. The Uzbeks gave us access to the prison to interview a supposed local Al Qaeda leader. That was of course a deadly dull picture shot during the interview, but after some persuasion they let me wander around the prison, although they kept a close eye on me.
22 July 2010
I first heard about the Appleby Horse Fair when a photographer friend showed me some of her work. I was struck by the actual and metaphorical colour of the people and the fair. It dates back hundreds of years and enjoys Royal Charter status, ensuring that gypsies and travellers return to Cumbria every year to trade horses and meet up with family and friends.
20 June 2010
Liang Yan Fa carries baskets of sifted coal to Yang Gui Hai to add to the fire at their make-shift sulphur factory in the middle of the Wuda coal field, Inner Mongolia.
31 May 2010
During the 1980s I covered the ‘The Troubles’ in Northern Ireland on assignment for both Newsweek and Time magazine.
7 May 2010
This photograph has sold as a poster and for greeting cards with the words ‘Thanks for being there’ and ‘Thanks for your support’.
21 April 2010
In the photograph above, Frank and his friend Paul return from apple-picking, late afternoon, in the winter sunshine. It was shot from the hip, while walking backwards, with an aperture of f1.4, so I suppose it is also a bit of a lucky shot – few of the other frames worked as well. The shallow depth of field lends a certain 3D quality to the image, and the harsh shadows and deep blue sky serve to enhance the look.
2 March 2010
Saint Valentines day at Westminster Abbey. Sister Angel Popstitute, having lightly groped me while presenting me with a pack of condoms, lube and mints, poses with other Sisters of Perpetual Indulgence.
1 February 2010
Our cat – one of two – Thelma, mewing at the window asking to be let in from the cold snowy conditions outside.
5 April 2009
The series documents my response to the ‘presents’ that Wolfie, my beloved cat, brings into the home. At first, I experienced some kind of horror: these dead creatures waiting for me in different parts of my house.
19 March 2009
Jim Kerr, the lead singer of Simple Minds had moved to live in Taormina, a small town in Sicily, Italy. With his wealth he could live anywhere and I questioned him on his choice of home. Being typical Jim, he replied, “Come and discover for yourself”, and so being typical me, I did.
12 March 2009
Ireland does not have a free universal health care system. A number of years ago a free universal health care also known as the Medical Card was introduced for everyone over 70 years of age.
6 March 2009
In most conventional works that use projection lighting, the dancers position and timing have to be completely fixed to the time line of the video playback.
27 February 2009
This picture was taken last year during a day of Israeli army operation in Gaza, when rockets from Gaza landed all over the Southern cities in Israel.
19 February 2009
Sara Maitland had written a book on silence, based on her experiences in a variety of isolated locations. This picture pretty much got where I wanted to go with the shoot – wild, romantic landscape, theatrically lit.
12 February 2009
I seem to remember that as a child there were many more derelict old barns, buildings and structures than can be found these days. With the construction of ever bigger and faster roads, the pressure on this rural island of Anglesey to accommodate increasing numbers of visitors is changing the face of our past.
6 February 2009
Bob Wiltfong is an American comedian who was performing at the Edinburgh Fringe when I was working on a Festival paper there.
23 January 2009
This is part of a personal project that I started called ‘Sea & Symmetry’.
8 January 2009
An anti-capitalist protester is held back by City of London police during a demonstration called to protest over the financial crisis, which dogs domestic and international financial markets during the second half of 2008.
1 January 2009
This picture was taken when I was living in Nepal, at Benchen monastery in Kathmandu. The resident Buddhist monks were performing a traditional dance, and despite their colourful and impressive costumes and masks, it was rather slow and tedious.
18 December 2008
This picture was made while I was studying Photojournalism at the International Centre of Photography in New York, during the Halloween Parade in 1999.
11 December 2008
I was in the Philippines doing a reportage about religion and poverty in that country. I spent some time photographing people being crucified but I was much more drawn to the shanty towns where millions of ultra poor Catholics live.
4 December 2008
I took this shot while visiting Wroclaw in Poland for the first time. It is part of a group of statues called Anonymous Pedestrians by artist Jerzy Kalina.
28 November 2008
For Showcase I wanted to choose a picture taken during my current staff position at the Walsall Advertiser. This picture was taken during a visit by Tory leader David Cameron to a primary school in Walsall, in April 2008.
13 November 2008
This is from a recent shoot I did with the hairdressers Toni & Guy. It is part of a series of five images for their new hair collection and was taken in my studio, which is in a converted church in central Bristol.
6 November 2008
Troy Collins of Great Britain takes a tumble from USA #4 Captain Brian Kirkland in the Wheelchair Rugby (Murderball) Bronze Medal Match on September 15th at the USTB Gymnasium, Beijing. USA won the match 35-32 points.
30 October 2008
The shots of Einstein’s brain were taken in Mike Blow’s stonemasonry workshop in Bristol, 2007. I had been told that Mike had carved an exact replica of Einstein’s brain using original medical photographs as guidance.
9 October 2008
In 2003 I shot some material for “France” magazine in the Drome district. My daughter was employed in Grenoble at the time and took us for lunch to St.Hilaire du Trouvet where the Coupe Icare was just finishing.
25 September 2008
I took this picture when I was following the RAF MERT services. During the period I was with them, except for two ANA soldiers, all the casualties we picked up were Afghan civilians – and of these, all women and babies.
18 September 2008
I shot this portrait earlier this year whilst working for the homeless charity Crisis.
11 September 2008
This picture was part of a commission from Renfrewshire Council in west Scotland. As part of this commission I went out to Bo’ness, near Falkirk and visited the Ian Ballantynes’ Iron Foundry where they cast specialised iron works.
4 September 2008
Charles Mcdowel pushes Pop Vincent into a pond during the Martin Betts Dance at a party at Ascot.
25 July 2008
I was asked to come up with a location to place some freight lorries for a multi use PR shot and decided on the Severn Bridge with its striking cables.
17 July 2008
Pro-hunt campaigners dump a dead horse in the streets of Brighton.
10 July 2008
It is two pm in the unforgiving tropical heat as the young novice monks lie quietly on their horses in a mountain stream, high up on the Thai/Burmese border, but their daily rituals begin much earlier.
4 July 2008
June marks the beginning of the Monsoon season in India. In 2005, Mumbai, like the rest of the country, had just endured a particularly long and harsh summer.
26 June 2008
These photographs are part of an eight image, one room set commissioned by UK interiors magazine KBB with stylist Tamsin Weston, for their May 2008 issue.
12 June 2008
This was one of the occasions when all the right elements snap into view and you are at the right place and time to see it coming.
5 June 2008
While photographing a fashion shoot, my model mentioned that she was going to see a boxing match that evening. Thinking it would be interesting to photograph, I went with her and organised a press pass very quickly.
29 May 2008
I was on assignment with UNICEF in Sri Lanka, working on a project titled Emergency Education, which looked at how children in conflict areas receive education and is to be exhibited in New York.
22 May 2008
2007 was the year that climate change hit the headlines, spurred on by the week long Camp for Climate Action on the edge of Heathrow airport.
15 May 2008
This image actually wasn’t really supposed to have been taken at all. I’m always looking for extra income streams wherever I can find them.
8 May 2008
This photograph was a grab shot taken in March 2005. I was in Iraq, a guest of the British Army, and was out with members of the Royal Dragoon Guards, who were using armoured Landover’s to patrol the area of Umm Qasr.
28 April 2008
Most regions of the world contain caves (and the UK and Ireland are riddled with them), so that side-trips when shooting stock become a relatively easy thing to arrange.
17 April 2008
This image is from an ongoing project on the varied directions that research into Alzheimer’s Disease is taking, and shows the brain of a recently deceased person before slicing and storage in a container in the South Western Brain Bank, which acts as a resource for research into dementia.
10 April 2008
This picture came from one of Tony Blair’s last speaking engagements as PM last year. However, it has never seen the light of day until now. I was doing a PR job for an organisation hosting a breakfast meeting where an invited audience was given the opportunity to question the PM on policy.
4 April 2008
I photographed this boy in the playground of a youth centre run by Nicaragua’s YMCA – supported by the London-based charity Y Care International – in Managua.
27 March 2008
I’ve been collaborating with the writer Alain de Botton on his next book of essays and photography about the world of Work for which this picture of an accountants’ academy day was taken.
13 March 2008
This image is from an Arts and Business re-generation commission that I’ve been working on for four years, it’s been a long, slow project as it began with an old Bedford Truck factory before demolishment.
6 March 2008
This photograph was originally shot on assignment for Time Magazine.
28 February 2008
This image, photographed in the Red Sea, Egypt, was taken in the days of film, when the biggest limitation to the underwater photographer was being limited to just 36 exposures because, unlike top-side photography, you can’t change films underwater.
21 February 2008
A Jesus Army elder facilitates the Baptism of an Iranian asylum seeker in the River Wharf, North Yorkshire. Many persecuted Christians from across the globe have found refuge in the Jesus Army.
14 February 2008
Oldest Bikers – Mark Bourdillon, 2007
Photographer since 1978, EPUk member since 2000
7 February 2008
Islamic body hunters – Wade Laube, 2004
Photographer since 2001, EPUk member since 2007
31 January 2008
Winging it – Simon Price, 2006
Photographer since 1988, EPUk member since 2006
24 January 2008
The First Goal – Colin McPherson, 2007
Photographer since 1988, EPUK member since 2005
17 January 2008
Robbie Williams – Lenny Warren, 2006
Photographer since 1987, EPUK member since 2006
11 January 2008
Red Fern – Chris McNulty, 2007
Photographer since 2004, EPUK member since 2005
4 January 2008
Greenlandic Arctic – Nick Cobbing, 2007
Photographer since 1998, EPUk member since 1999
20 December 2007
Arranmore Island – John Rafferty, 2006
Photographer since 2005, EPUK member since 2007
14 December 2007
Broadzilla – Karen McBride, 2004
Photographer since 1999, EPUk member since 2007
6 December 2007
Remembering a victim of AIDS – Tony Sleep, 1996
Photographer since 1980, EPUk member since 1999
29 November 2007
Fast Footwork – Richard Tatham, 2006
Photographer since 2004, EPUk member since 2006
22 November 2007
Michael Jackson at Harrods – John Ferguson, 2006
Photographer since 1984, EPUk member since 2004
16 November 2007
Newberry School of Beauty – Paul Debois, 1990
Photographer since 1979, EPUK member since 2005
1 November 2007
Jumping Spider – Geoff Doré, 1980
Photographer since 1988, EPUk member since 2001
25 October 2007
Restaurant Chef – Larry Herman, 2006
Photographer since 1971, EPUk member since 2004
18 October 2007
Inner Mongolia – Tom Parker, 2005
Photographer since 2003, EPUk member since 2004
11 October 2007
Burmese tattoo ink – Vicky Bamforth, 2005
Photographer since 2005, EPUK member since 2006.
4 October 2007
Stable Mistress, Deen City Farm – Jon Gee, 2007
Photographer since 2006, Epuk member since 2007
27 September 2007
Ascent of the White-tailed Eagle – Chris Gomersall, 2000
Photographer since 1984, EPUK member since 2001
20 September 2007
Wee Man in a Vacuum, Malcolm Cochrane – 2007
Photographer since 1995, EPUK member since 2000
13 September 2007
Artificial uterus – Tom Wagner, 1997
Photographer since 1985, EPUK member since 2001
6 September 2007
T in the Park – Fraser Band, 2007
Photographer since 1997, EPUk member since 2004
30 August 2007
BMW M3 – Neill Watson, 2007
Photographer since 2002, EPUK member since 2003
23 August 2007
Igloo – Anna Watson, 2007
Photographer since 2001, EPUK member since 2004
16 August 2007
Coniston, Lake District – Jon Sparks, 2007
Photographer since 1994, EPUK member since 2003
9 August 2007
The Women – Stephen Power, 2007
Photographer since 2002, EPUK member since 2006
3 August 2007
Shaped by Fate – Adam Gasson, 2005
Photographer since 2006, EPUk member since 2007
26 July 2007
Tear-gas rains on firefighters – David Brabyn, 2004
Photographer since 2004, EPUk member since 2004
19 July 2007
Injection – Helen Stone, 1997
Photographer since 1991, EPUK member since 2007
12 July 2007
Ali al Salem, Kuwait – Ross Pierson, 1999
Photographer since 2005, EPUk member since 2007
5 July 2007
Rubbish dump, Cambodia – Dan White, 2000
Photographer since 1990, EPUK member since 2001
28 June 2007
Cargolifter Airship Hangar, Germany – Will Pryce, 2006
Photographer since 2000, EPUk member since 2006
21 June 2007
American actor Tim Robbins – Charlie Hopkinson, 2004
Photographer since 1990, EPUk member since 2007
14 June 2007
Danish ceramicist – James Winspear, 2006
Photographer since 1997, EPUK member since 2006
8 June 2007
Yeltsin at Downing Street – John Chapman, 1990
Photographer since 1979, EPUK member since 2006
1 June 2007
Bottlewomen – Clive Evans, 2005.
Photographer since 1970, EPUK member since 2004.
24 May 2007
Will and Brian – Gavin Wright, 2002.
Photographer since 2003, EPUK member since 2006.
17 May 2007
Wez – Ben Roberts, 2007.
Photographer since 2006, EPUK member since 2007.
10 May 2007
Bedford Bodies – Ian Miles, 2001
Photographer since 1988, EPUK member since 2003.
4 May 2007
Afghan Child – Theodore Liasi, 1995.
Photographer since 1986, EPUK member since 2007.
26 April 2007
Tom Morello – Laurence Baker, 2005
Photographer since 1993, EPUK member since 2007.
19 April 2007
Family – Sheila Atter, 2006.
Photographer since 1965, EPUK member since 2003.
12 April 2007
Whitechapel High Street – David Cowlard, 1999.
Photographer since 1996, EPUK member since 2007.
5 April 2007
A hurdle too far – Stuart Saunders, 1998.
Photographer since 1997, EPUK member since 2006.
29 March 2007
NorthernLights – Simon Brown, 2005.
Photographer since 2005, EPUK member since 2006.
22 March 2007
Darklight Rite – Sarah Lucy Brown, 2007.
Photographer since 2005, EPUK member since 2006.
15 March 2007
A Widow of Vrindavan – Gavin Gough, 2006.
Photographer since 2004, EPUK member since 2006.
8 March 2007
Nablus protestor – Antonio Olmos, 2000
Photographer since 1988, EPUK member since 1999.
1 March 2007
Cholera – George S de Blonsky, 2005.
Photographer since 1998, EPUK member since 2006.
22 February 2007
Hand of Fatima – Vince Bevan, 1990
Photographer since 1984, EPUK member since 2002.
15 February 2007
On a Shout – John Callan, 2006.
Photographer since 1980, EPUK member since 1999.
8 February 2007
Heath – Andy Scaysbrook, 1992.
Photographer since 1985, EPUK member since 2006.
1 February 2007
Paris Match – Justin Leighton, 1995
Photographer since 1988, EPUK member since 2002
25 January 2007
Keef 1981 – George Chin
Photographer since 1979, EPUK member since 2006.
18 January 2007
Portobello Beach – Huntley Headworth, 1999
Photographer since 1986, EPUK member since 2005.
11 January 2007
Dancing Fairy – Philippe Hays, 2000
Photographer since 1994, EPUK member since 2001.
21 December 2006
Revolution Square Santa – Jeremy Nicholl, 1995
Photographer since 1981, EPUK member since 1999.
14 December 2006
Cluster Bomb Victim – Andrew McConnell, 2005
Photographer since 2000, EPUK member since 2006
7 December 2006
Omani Musicians – Jason Larkin, 2006.
Photographer since 2004, EPUK member since 2006.
30 November 2006
Amsterdam – Mykel Nicolaou, 2000.
Photographer since 1993, EPUK member since 2000.
23 November 2006
Dougy – Tim Foster, 2004.
Photographer since 2000, EPUK member since 2006.
16 November 2006
Vic – Neil Turner, 2006.
Photographer since 1986, founder member of EPUK, 1999.
9 November 2006
Duck Dive – Simon Brown, 2006.
Photographer since 2005, EPUK member since 2006.
2 November 2006
Mumbai Children – Brian Harris, 2006.
Photographer since 1969, EPUK member since 1999.
26 October 2006
Sudan – Richard Hanson, 1996.
Photographer since 1990, EPUK member since 2002.
19 October 2006
Bob, Rod and Don – Drew Farrell, 1993.
Photographer since 1990, EPUK member since 2000.
12 October 2006
Fans – Bettina Strenske, 2006.
Photographer since 2005, EPUK Member since 2006.
5 October 2006
Roddick – Malcolm Case-Green, 2005
Photographer since 1982, EPUK member since 2002.
28 September 2006
Archbishop – Martin Beddall, 1992.
Photographer since 1991, EPUK member since 2001.
21 September 2006
Botswana – Lottie Davies, 2005.
Photographer since 2000, EPUK member since 2006.
14 September 2006
Phil the Greek – Thomas Main, 2005.
Photographer since 1993, EPUK member since 2004.
7 September 2006
Road to St Catherine’s – Emma Peios, 2005
Photographer since 1996, EPUK member since 2003
31 August 2006
Street fight – Carl Rose, 2003
Photographer since 2003, EPUK member since 2005.
24 August 2006
1700 – Kobi Israel, 2005.
Photographer since 1996, EPUK member since 2006.
17 August 2006
RSC – Pascal Molliere, 2006
Photographer since 2002, EPUK member since 2005.
10 August 2006
Dhaka – Jiri Rezac, 2005.
Photographer since 1994, EPUK member since 2000.
3 August 2006
Notting Hill – Lynn Hilton, 1995
Photographer since 1983, EPUK member since 2006.
27 July 2006
Veteran – Stuart Griffiths, 2006
Photographer since 1998, EPUK member since 2002.
20 July 2006
Carroll – James Cheadle, 2005
Photographer since 1991, EPUK member since 2003.
6 July 2006
Tu Bishvat – Andy Aitchison, 2005
Photographer since 1994, EPUK member since 2002.
29 June 2006
Mongolian Army Crowd Control, Jeremy Sutton-Hibbert, 2001
Photographer since 1989, EPUK member since 2000
22 June 2006
Piano Man – Alan Barton, 2006.
Photographer since 1982, EPUK member since 2005.
15 June 2006
Poll Tax – David Hoffman, 1990
Photographer since 1976, EPUK member since 1999.
8 June 2006
Katsuaki Watanabe, Charles Best – 2005
Photographer since 1985, EPUK member since 2002
1 June 2006
Wipeout- Ashley Coombes, 2001
Photographer since 1993 EPUK member since 2002.
24 May 2006
On the ball- Terry Harris, 2005
Photographer since 2005, EPUK member since 2006.
18 May 2006
Night Riders- Seb Rogers, 2006
Photographer since 1996, EPUK member since 2003.
11 May 2006
Akha – Michael Freeman, 1979
Photographer since 1973, EPUK member since 2001.
4 May 2006
Maryhill Teenagers- Nick McGowan-Lowe , 1995
Photographer since 1996, EPUK member since 2000.
27 April 2006
Whisky- Ralph Hodgson, 2001
Photographer since 1991, EPUK member since 2000
20 April 2006
Diving – Annette Price, 2004
Photographer since 1988, EPUK member since 2001
13 April 2006
Greenland- Nick Cobbing, 2005
Photographer since 1994, EPUK member since 2001
6 April 2006
Trinity- Jason Bye, 1997
Photographer since 1992. EPUK Member since 2004.
30 March 2006
Wessex Man- Graham Trott, 1992
Photographer since 1974, and founding member of EPUK in 1999.
23 March 2006
On April 7th 2001 I was on shift for the News of the World to cover a march by supporters of the BNP in the morning and, to make the day quite bizarre, a march in memory of murdered schoolboy Damilola Taylor in the afternoon.
16 March 2006
Not the big break or chance encounter, just one of those rare moments captured and still a favourite.
9 March 2006
This picture was taken on my first trip to New York in January 1999.
2 March 2006
I took this picture on the way back from a commission for a design company photographing a transport depot full of lorries in Northern Spain.
23 February 2006
This shot was taken on one of my very first commissions straight out of college. The shot wasn’t actually part of the commission but was taken at the end of the day before heading back to my B&B.
16 February 2006
The Telegraph Magazine had commissioned a series on provincial cities and I used to motor down to Salisbury and Southampton to catch the evening light.
9 February 2006
I was photographing a project in Namibia that uses guarding dogs to protect livestock and so protect predators, cheetahs included.
2 February 2006
This was a grab shot. I was chatting to a potential customer with the kite and camera rig flying overhead. As we spoke there was the noise of an eejit on a jet-ski roaring up the river and I turned the camera rig and took this photo, using the video down-link to time it so that his wake neatly matched the shape of the riverbank.
26 January 2006
This was taken back in 1992 when digital imaging (for me) was very much in its infancy. It was my first satisfying image scanned into my 180C laptop, using my Nikon scanner, (no not the Coolscan, the other one).
19 January 2006
2005 was my first year trading as a freelance photographer and I had an early evening commission to photograph the West Midlands equiveant of the Blackpool lights, the Walsall Illuminations
12 January 2006
Celebrity photographers can have an uneasy relationship with their subjects that swings between love and hate and vice-versa. Those with a story to sell need photographers but it’s never that simple.
4 January 2006
This is my mum and her Jack Russell Monty. Monty is a canine sociopath and is responsible for the death of at least one peacock – possibly more. I shot this one Xmas when I was playing around with a ringflash.