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Tag: Hoxton Mini Press

Miami Beach by Barry Lewis

Reading Time: 5 minutes “My tropical adventure was started by a friend, the photographer Mary Ellen Mark, who in 1988, enthused to me about Miami Beach, ‘You are made for each other!’” says Barry Lewis. “That summer I went with my family for a brief holiday, and fell in love with this exotic time warp. I met up with several photographers and by the end of the trip had a share in a fading Art Deco apartment on the beach.”

So began an ongoing love affair for Lewis, who ended up documenting South Beach for the next seven years, using Miami as a base for his US work and a venue for family winter escapes. It was, as he points out, a city on the up, just starting to revive after a couple of decades in the doldrums.

Reclaim the street photography!

Reading Time: 3 minutes “The new interest in street photography over the last decade and a half is perhaps the single biggest global movement photography has seen in its 170-year history,” says Nick Turpin, creative director of Street London, the third annual edition of the festival dedicated to street photography, taking place at D&AD’s new east London space from 17 to 19 August.

The three-day event, hosted by Hoxton Mini Press, includes guest speakers, shoots, panel talks and, of course, a street party on the Saturday night. There is also an opportunity for photographers to pitch for a 10-minute slot on stage, the Spotlight sessions, where 12 successful applicants will present their projects to an audience for constructive feedback. The theme for discussion this year revolves around how street photography is being redefined by photographers who have emerged from other backgrounds, including photojournalism, art photography and portraiture and how this has influenced them today. There is also a conscious view to look to contemporary expressions of genre. 

Chris Dorley-Brown’s singular vision of East End London

Reading Time: 6 minutes “I don’t have a journalistic bone in my body,” says Chris Dorley-Brown. “I’ve never been to Kosovo. Loads of people do that really well, but I don’t have the urge or the instinct, and that’s partly why I don’t really think of myself as a professional. I do the odd advertising job to earn money, and I think I do it okay, but the phone isn’t ringing off the hook with jobs because I don’t put the energy into promoting myself, since I’m wandering around here all the time. I keep my overheads low and can just about get away with it.” It’s a modest way to sum up an extraordinary body of work – more than 30 years of images, nearly all shot in London’s East End, and most photographed on the street. Some show luxury new developments, others rundown social housing. Some capture crowds of people, some empty streets. Many are one-offs, others – such as the images in The Corners – are manipulated using Photoshop to put various passersby together on one intersection

A different take on the city in Susannah Ray's New York Waterways

Reading Time: 5 minutes For Susannah Ray to get into the centre of New York city, she must first travel over a series of bridges and waterways. Whether driving across Jamaica Bay or taking the subway from her home in Rockaway Beach, Queens to Brooklyn or Manhattan, she repeatedly finds herself captivated by the sights she encounters – the sky changing colour above the water; the birdwatchers on the shores; men fishing near a scrap metal yard, up to their waists in waders. She sees groups of people performing religious rituals, gatherings and prayers on the banks of the river. She sees more simply being. Ray’s image of New York is utterly coloured by its relationship with the water. So when she decided to create a portrait on the city, she decided to use those urban waterways to weave it all together. “The water serves so many different purposes for so many different people,” she says. “It acted as a focal point. The communal draw symbolises that idea of coexistence.”

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