Reading Time: 4 minutes Roaming central London, the Indian photographer creates spontaneous portraits of the curious characters that populated the city when he first moved there
Tag: Stanley Barker
Reading Time: 2 minutes “These photographs are not a documentation or story telling or even art. They are declarations of Love”
Reading Time: 2 minutes Distinct from her contemporaries, Judith Black turned her lens inwards: on her children, family and friends across the US
Reading Time: 2 minutes
Reading Time: 2 minutes Over two decades since Raised by Wolves was published, Jim Goldberg presents a collection of unseen Polaroids from his decade-long documentation of Californian teenagers
Reading Time: 2 minutes Plumb’s latest photobook The White Sky responds to her experience of growing up amid the arid landscapes of a West Coast suburb, and the environmental issues latent in her surroundings
Reading Time: 6 minutes In a new book, A Voice Above the Linn, Lawrence tells the story of Jim Taggart and his gardens, hidden amid a remote valley on the western coast of Scotland
Reading Time: 6 minutes Publications we loved, and the big news stories from the last month in photobooks – featuring work by Peng Ke, Tom Wood, Paul Reas, Vivian Maier and the post-war PROVOKE group
Reading Time: 5 minutes Almost every Saturday between 1978 and 1999, Tom Wood travelled from his home in New Brighton by ferry and bus to Great Homer Street market, just outside Liverpool city centre in the North West of England. He would spend the morning there photographing the mothers and daughters, kids dressed in matching blue and lilac tracksuits, teenagers chatting away with their curly hair swept up into side-ponies, and grandmothers haggling for of a string of pearl necklaces or a second-hand coat. In the afternoon he’d travel on to either Everton or Liverpool football ground, then back on the bus and ferry, taking pictures every step of the way.
”God knows how many photographs I took,” he says. “When I first began photographing in Liverpool I was just overwhelmed by the people and the place. It was an exciting place to be, I fed off the energy there.”
Reading Time: 3 minutes “I had access to what felt like this secret world,” says Dafydd Jones, who has worked as a social photographer since the 1980s for publications such as Tatler, Vanity Fair, The New York Observer, The Sunday Telegraph, and The Times. “I was taking pictures of elites that nobody had seen before. It was Thatcher’s Britain, a period of celebration for those that had money. People described it as the ‘last hurrah’ of the upper classes.”
In 1981 he won a photography competition run by The Sunday Times magazine with a set of photographs of “Bright Young Things”, named after the earlier group of hard-partying aristocrats immortalised by novelist Evelyn Waugh and photographer Cecil Beaton. Tatler editor Tina Brown hired Jones off the back of it, commissioning him to photograph the Hunt Balls, society weddings, and debutante dances that were a mainstay of the upper-class publication. Now Jones has put together a collection of his work for Tatler from 1981-89, titled The Last Hurrah and currently on show at The Photographers’ Gallery and put out as a publication by Stanley Barker.