In Beneath the Surface Skin, chemigrams made with Arctic seawater and glacial portraits become letters across loss
Tag: darkroom
Set up in 1990, the space remains committed to image-making and image-makers, and now has a handsome new London home
Next in Ones to Watch is Sènami Donoumassou, whose experimental photograms won her the inaugural James Barnor Prize
A pioneer of the early-2000s queer zine movement in New York, Paul Mpagi Sepuya brings his portrait evolution to the Midlands
For almost a decade Morgan Ashcom thought his images of Palestine’s West Bank had been destroyed – now, after rediscovering the corrupted film, he considers them a metaphor for oppression
Featuring work donated by 10 caribbean photographers, the sale will support relief efforts following the volcanic eruption of La Soufrière
Devoted to the art of pinhole photography, Oelklaus ruminates on her largest and most ambitious camera
“I see the bastard countryside everywhere I go,” says Robin Friend, pointing out of the window of his studio in East London, where an ivy plant has climbed up a nearby wall and is wrapping its vines around a rusting CCTV camera. “I ran with this idea of city and countryside splattering into each other, creating this hybrid nature,” explains Friend, who has been producing photographs for his book, unknowingly at first, for 15 years since he started started his BA in Brighton, where he studied under Jem Southam.
“Bastard countryside” is a phrase coined by Victor Hugo in his novel Les Miserables, in which he describes the city of Paris as an “amphibian”, stretching out into the countryside and devouring everything in its path. It is a zone in which the urban and rural mix, the manmade and the natural, clashing and colliding to create a strange form of beauty and ugliness.
Photographers including Sally Mann, Jeff Jacobsen and Charles Harbutt discuss the tensions between analogue and digital
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.