Informed by their day job as a social worker, Marley Starskey Butler traces their own complex upbringing through moving-image, text and photographs
Many socially engaged practices rely on collaborations with marginalised communities – but if a photographer receives funding, should their participants also be paid?
Noticing the lack of work by local photographers, Rollo initiated her own project, re-working found images and documenting festivals across Southern Italy
Blood, tears, boredom, rage, regret… “There is,” says photographer Diana Karklin, “a B-side to the story of motherhood that is rarely talked about.”
The winners of this year’s award explore culture, identity, motherhood and more, visualising powerful stories in striking new ways
Presenting images, objects and personal stories by professional photographers as well as the public, the extensive show documents lived experiences of young people from the 1920s to today
How do you visualise the non-visual, something so intangible as aroma?
Hidden in 1993 by writer and puzzle designer Régis Hauser, the mysterious buried owl has been puzzling treasure hunters for three decades. Enigmatic and surreal, Graham’s latest book investigates the unsolved mystery
Europe boasts more than a hundred photography festivals, but few match the scale and ambition of Photo España in Madrid. This year, the organisation behind it, La Fábrica, celebrates the festival’s 20th edition with a typically eclectic summer season of activities throughout the Spanish capital, encompassing the work of more than 500 artists across dozens of venues that range from the small to the iconic. “The festival is a collective project with a wide variety of institutions, both public and private, supporting it,” says director Claude Bussac, who is hoping that the 2018 edition will “push forward both the formal and geographical boundaries of photography… We aim to celebrate our 20th anniversary questioning photographic meaning and inviting photographers from every continent.”
As a young man in the late 1970s and 80s, Tom Wood regularly found himself among the crowds waiting for the ferry at Liverpool’s Pier Head. Commuters weary after a long day’s toil, elderly couples gazing out at the Mersey in comfortable silence, teenage girls sporting shell suits, hair swept into side ponytails. “There were always loads of people at the Pier Head because it’s a terminus for the whole of Merseyside,” Wood says. “Coming home I’d find I’d just missed a ferry. You’ve got at least 20 minutes to wait for the next one so what do you do? You take pictures.”