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Q&A: Climate change in Iran by fast-emerging photographer Hashem Shakeri

Born in Tehran, Iran, in 1988, Hashem Shakeri studied architecture in TAFE (New South Wales Technical and Further Education Commission of Australia), and started his professional photography career in 2010. In 2015 he was Commended in the Ian Parry Scholarship, and in 2017 his images were included in the Rencontres d’Arles exhibition Iran, Year 38, alongside work by photographers such as Abbas Kiarostami and Newsha Tavakolian.

Shakeri’s ongoing series on climate change in Sistan and Balouchestan looks at the effect of drought in the Iranian province, which is located in the southeast of the country, bordering Afghanistan and Pakistan. It has been suffering from drought for the last 18 years, which has created severe famine in a region once famed for its agriculture and forests. “Nowadays, the Sistan region has faced astonishing climate change, which has turned this wide area into an infertile desert empty of people,” writes Shakeri.

17 September 2018

Her Take: (Re)thinking Masculinity

Last year, VII Photo Agency invited six women to join its collective. With seven female members in total, “the seven of VII” quickly became a phrase that stuck. After numerous email exchanges, and a big discussion at the annual general meeting in Barcelona in March, the seven of VII are now staging a group exhibition together – Her Take: (Re)thinking Masculinity, which opens at Photoville in Brooklyn, New York on 13 September.

The exhibition is made up of seven separate projects, each exploring the topic of masculinity. “The exhibition is a conversation, and it’s a conversation that we want to have with both women and men,” explains Sara Terry, whose project recreates Manet’s famous painting, Le Déjeuner sur l’herbe, with a naked man replacing the female nude.

12 September 2018

Max Pinckers tracks the Margins of Excess between truth and fiction

It is difficult to unravel, in many of the stories that Max Pinckers tells, where fiction became unstuck from fact. Or how the characters in his photographs can look back out at the world so boldly, shake their heads at reality as most people see it, and tell stories that fly in its face. But for the Brussels-based photographer, the six curious individuals in his latest book, Margins of Excess – including a boy who compulsively hijacks trains, and a private detective with prosthetic hands – lead the way to understanding documentary photography’s role in the ‘post-truth’ era.

One such character, an American amateur inventor with a mane of silken hair, sat at the kitchen table of his home in Dunnellon, Florida and told Pinckers that he believed he had become the media’s new Osama bin Laden. “My name is Richard Heene. A few years ago I got into a bit of trouble,” said the forty-something showman, detailing the events that led him to end up behind bars.

11 September 2018

Laura Morton’s Wild West Tech

In Dave Eggers’ novel The Circle, recent graduate Mae Holland joins a highly successful social media corporation in California. The Circle, as the company is named, demands 24/7 loyalty from its staff but, seduced by its power and glamour, Holland is quickly drawn in and starts sleeping at the on-site dormitory and almost exclusively hanging out with its employees. By the end of the book things have taken a dystopian turn, and The Circle has morphed into a totalitarian regime, governed by slogans such as ‘Privacy is Theft’ and ‘Secrets are Lies’, poised to take over the world.

It’s a compulsive read, and is currently being turned into a film starring Emma Watson and Tom Hanks, so you’d think it would be required reading for young entrepreneurs relocating to San Francisco to set up their own tech businesses. Photographer Laura Morton agrees, but says most of them have never heard of the book. “You have to understand, most of them are completely dedicated to their work,” she says. “They have to launch faster than the next guy, quickly scale up their business… They’re not looking outward a lot.”

3 September 2018

Taylor Wessing Photographic Portrait Prize shortlist announced

Photographs of a woman holding her baby, two shoppers, a drum majorette, and a child from a remote village in Sierra Leone have all been shortlisted for the National Portrait Gallery’s prestigious Taylor Wessing Photographic Portrait Prize this year. The prize winners will be announced at an award ceremony at the NPG on 16 October, with the overall winner receiving £15,000 and other cash prizes awarded to the shortlisted photographers at the judges’ discretion.

Two of the images were shot in London, with Max Barstow behind a striking photograph of two women in a busy shopping street in the city centre. The image comes from his series Londoners and in it, he says, his aim has been to “make unposed portraits with the intensity of images made by great studio photographers such as Richard Avedon and Irving Penn”.

30 August 2018

Brian Kanagaki’s Golden Persimmons

“You should get into the habit of looking above eye-level while walking,” says American photographer Brian Kanagaki. “It’s much more beautiful than looking down at the dirty street and trash.” Golden Persimmons, shot over a period of six years, captures geometric subjects in ambiguous environments; spanning over eight countries (though predominantly New York), the brutally black and white images take inspiration from the graphic, organic shapes found in cities globally.

The project began when the design director got lost while taking a shortcut in his hometown, San Francisco. “It was funny to get lost in a city that I thought I knew so well,” he says. “I ended up driving around and finding so many new things that got my mind working.” One of which was decorative trees in people’s front gardens, the original basis for the series. But after moving to New York and spending time travelling, the idea quickly evolved to focus on tying the world together by capturing its mundane similarities.

30 August 2018

Group Projects: Obsolete & Discontinued

It began in March 2015 when David Yates, a client of photographer and fine art printer Mike Crawford, turned up at his print studio, Lighthouse Darkroom, with a “shopping trolleyful” of old boxes of expired photographic paper. The next day, he brought another. The two loads were what was left of a mass clear-out of Yates’ late grandfather Bret Sampson’s darkroom. The British photographer’s London studio was his first port of call, given that Crawford was already working with Yates on another of his personal projects.

29 August 2018
In this collection of long-form features, artists dive into the complexities and themes behind their expansive bodies of work.