From great apes and pop fans to real children’s spaces, James Mollison’s photographs invite the viewer to look beyond face values.
Matthew Donaldson’s high-speed ‘still life’ photoshoot with GTF for Kvadrat at Pinewood
‘It’s like a game of rock-paper-scissors, in which the flicker of film melts the frozen photograph.’
Books lie at the heart of photography’s history. Now photographers are opting for the freedom and ‘total conception’ of publishing themselves.
Richard Pare’s photographs of Russian architecture strike up a dialogue with a time of energy and optimism.
Jens Gehlhaar, of directors’ collective Brand New School, moves effortlessly between moving image campaigns, still photography and CGI.
Newport’s reputation for cutting-edge photography is based on a solid grounding in film-based techniques and an appetite for constant change.
Julio Bittencourt records the last days of Prestes Maia 911 in São Paulo, Brazil.
Do editors’ demands for both motion and stills mean that an era of still photography is coming to an end?