Launching today, British Journal of Photography’s Time & Community issue features an exclusive cover with Tyler Mitchell, as well as new work by Laura Pannack, a studio visit with Richard Mosse, a special section on Latin American photographers, and so much more
In relation to photography, the concept of Time is manifold. The medium is inherently temporal; through cameras, photographers have the power to suspend a moment in time. The notion of photographic truth is tried and contested, but photographs have a unique ability to transport us to different times, or to act as portals into psychological landscapes that transcend it. Time can also be a theme in photographic projects. Throughout history, image-makers have documented people and places over days, months, years, and even decades, using the camera as a tool to record and observe change within communities.
These varied explorations of time are explored in the latest issue of British Journal of Photography (BJP). The cover image – exclusive to BJP – is shot by Tyler Mitchell. Titled Cage, it belongs to his latest series Chrysalis, and embodies much of what the work is about – intimacy, landscape, the body, and spirituality. Inside the issue, Mitchell is in conversation with Gem Fletcher about Black freedom and artistic evolution: ““As photographers, we always have so much to prove,” he says.
Laura Pannack, on the other hand, fears time – or rather time running out. She shares a preview of a new chapter of her investigation into youth: the awkward and magical moment between adolescence and adulthood. Following on from her recognised series Youth without Age, Life without Death, shot in the Romanian mountains, this time we are taken deep into the Dübener Heide region in eastern Germany.
Among our other main features is Miro Kuzmanović’s epic tome chronicling decades of social and political tension in the former Yugolsavian states. Max Miechowski considers a British seaside community’s strong sense of place and belonging despite the ominous crumbling of the landscape around it. And curator Charlotte Cotton unpacks the new show at the ICP in New York, featuring 12 women photographers of Magnum.
This issue, we are in the studio with Richard Mosse in his airy space in Queens, New York. Renowned for his large-scale political pieces and for using non-traditional processes and technology, the Irish artist recently premiered his first openly activist work, Broken Spectre, at 180 The Strand in London. The 72-minute film exposes the scars of deforestation and resource extraction in the Amazon rainforest. “The only way to change the world is through activism, but I was cagey about this categorisation of my work in the past,” says Mosse.
In our Spotlight section, we celebrate photography that is changing perspectives in Latin America, as selected by curator and editor Santiago Escobar-Jaramillo. Plus, we feature new projects from Ryan Prince, Serena Dzenis and Hanna Rédling. Elsewhere, we explore the photography scene in Helsinki in On Location. And take a closer look at Daniel Mayrit’s deep dive into populism in Intelligence.
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