Bigger, better, bolder: British Journal of Photography unveils its new look

Reading Time: 4 minutes

The first new-look issue, our April edition is themed around science and technology, and our features this month focus on photographers exploring the vernacular and characters that inhabit these most modern of industries.
Michael Benson, whose remarkable exhibition of space imagery is on show at the Natural History Museum in London, tells Tom Seymour of the “audacious, utterly consequential story” that has made our nearest planetary neighbours tangibly, visibly manifest.

“When the internet arrived in the 1990s, I saw an opportunity to actually see all of the images NASA were making available, rather than the handful the gatekeepers in the image-based magazines were choosing.”


© Michael Benson
Daniel Stier’s photographs examines the intuitive, freewheeling experiments that are part of pure scientific research and finds their process closer to that of the artist.

“I am interested in the experiment, the idea of work that people do without any clear outcome. This constant loop of doing something, maybe failing and then starting again. That is exactly what we do as artists”


© Daniel Stier
© Daniel Stier
Inspired by the medical technology that helped his newborn son through his first days, Austrian photographer Reiner Riedler embarked on an investigation into the humanoid qualities of lifesaving machines.

“It was the first time I had looked inside a machine. With the two doors open left and right, it appeared like a winged altar… It was like touching a secret that I could not understand.”


Reiner Riedler_Lifesaving_Press_23
Laura Morton chronicles the ‘commune-like’ bubble of the new crop of young tech entrepreneurs in San Francisco Bay, living, working and socialising together – hoping to become the next Mark Zuckerberg.

“This sort of co-living, co-working lifestyle really appeals to introverts and loners… living and working in this environment also means instant friends. It makes life a lot easier for people who might otherwise have trouble putting themselves out there and meeting people.”


© Laura Morton
© Laura Morton
Montreal-based duo After Faceb00k harvested the social network to create photo installations that consider the way social media is shaping our lives in unintentionally meaningful ways – even after death.

“People very consciously construct their online identity. The images they post represent the choices they’ve made… What we’re interested in is unravelling those preferences.”


Image courtesy of After Faceb00k
Tom Seymour

Tom Seymour is an Associate Editor at The Art Newspaper and an Associate Lecturer at London College of Communication. His words have been published in The Guardian, The Observer, The New York Times, Financial Times, Wallpaper* and The Telegraph. He has won Writer of the Year and Specialist Writer of the year on three separate occassions at the PPA Awards for his work with The Royal Photographic Society.