Guest Feature - Ruth Phng Keng Hwa

For my series Temporary Residents I photographed the spaces where my grandparents occupy in their home. Their house in Malaysia is a renovated and a present space, where they will stay temporarily until they move on again. It is this ephemeral and temporal space that I wanted to explore with photography. One day when I’m not able to return to this space; when it has been lost to time; I'll know that it once existed and that my grandparents existed within it; and I captured it.

The alternative analogue process I used for this project is called Lumen printing. It's similar to making Cyanotypes, where you print out a digital negative and lay it on top of a light-sensitive coated paper. In this case, it's just laying the digital-negative on top of a normal photo paper, and leave it out in the sunlight to expose, hence the name Lumen, meaning light. You can leave the image to expose for however long you like, from a few hours to a week, depending on how strong the sunlight is. Once the paper has been exposed you take off the digi-neg and place the paper into the fix. I then selenium and sepia tone the paper to bring out the image, and adjust the overall tone to give it a brownish finish.

I use two analogue cameras to capture that element of time and memory in the images by taking long-exposures. For each image I left the shutter open for five minutes to allow the sunlight and space to seep in and embed itself onto the film. The process is almost meditative, to fully appreciate the spaces where my grandparents live, knowing that they are still alive but that it won't last forever. 

Born in Malaysia and a recent graduate of London College of Communication, Ruth Phng Keng Hwa delves into Buddhist notions of impermanence and temporality in her work. She is interested in exploring and visualising the spirituality of Eastern Philosophy, through analogue and alternative photographic techniques.

phngkenghwa.com

Guest Feature - Jacob Middleburgh

My new photo essay looks into walking, photographing and writing as anthropological tools. As I walked the same path over a month period, restricted in space due to the Covid-19 crisis, I forced myself to draw my focus on how I understood limited space. I explored the same 1 Kilometre path countless times, observing my environment and talking to people that I was drawn to. These photographs tell a story of this period in time; facemasks, cordoned off exercise equipment, solemn expressions, and markings on trees. Each photo is contributing to a wider story of confusion and coming to terms with a new normality; those photographed all used the same word in common – ‘unprecedented’. The chosen space is undergoing constant change amongst its urban landscape. It is a thin strip of land that to me, before the lockdown, felt like some form of escape from the city. Throughout the past few months it has become a backdrop to reflect new social norms. Newly arising semiotics within this space reveals this new normality.

White and tall with a big hugging stretch, standing up away from the retirement bench. Taking the light from the lime short figure below, But leaving enough for their branches, that are liked so much, to grow.

The segments of poetry were written co-operatively (along with Freddie Watkins) with the subjects, incorporating parts of my field notes. Accompanying the work is an essay which is an attempt to unpack the role of walking and talking within anthropology. I use notions of psycho-geography and scizocartography as entry points into understanding the importance of these anthropological tools. Psychogeography can be used to explain the ways we interact with our built environment in nuanced forms. Alterations to our surrounding urban environment can mark interventions into our relationship with space.

A game to be played between humans and moles, one side to dig on and the other to score a goal. On one side of the pitch a rising mound of earth, on the other a white football frame bent from crossbar shots. The bird whistle blows and an airplane cheers, no one is there, but we are here.

Surrey Canal Walk was the essential means by which to create narrative; it was a portal into story telling. This walk sits on top of an old canal site, now a place for gathering; it is a route that joins up Peckham to the docks. It has an atmosphere of liminality as it sits between two key areas. It’s a commuter’s route for some, a meeting space for others. It serves people in different ways. For me it feels like an escape from the urban. However, the space underwent visual alterations each time I visited, impacting the way in which myself and others interacted with the environment. In order to reconcile with these changes in a personal and collective sense walking and talking is essential.

The camera tripod stood watch on over the flowers like a mechanical hen, the shutter chattering with a baby blue tit on a branch, the photo couldn’t show you this thankfully writing is it’s own way of seeing, and without it you couldn’t see him standing, hear him say ‘I think it’s a nice way to do a walk

As I walked with my subjects I would ask which aspects of our environment excite them and we would then co-produce images with the camera and tripod. Using ‘mobile methods’ allows the anthropologist to talk to different people in a single place as a shared activity. I chose to use a medium format film camera, and all the photographs are scans of silver gelatine prints. I chose an analogue medium as it offered me the ability to reflect deeply on my chosen subject – it provided me with a heightened sensorial experience as my relationship with the photographs were nurtured and grew in the time I spent with them in the darkroom. This, I believe, is something not offered by a digital medium. I think that the roughness of the accompanying words complemented the imperfections of the silver-gelatine prints I have made.

A clay coloured circle of metal has replaced a window. All of the construction barriers have fallen over and a most of saplings feels inferior to the fence.

My walks were an opportunity to connect and form relationships with my neighbours. Writing was used as a tool of automatic documentation, scribbling down ideas with other participants and forming them into poetics. The result is non-narrative and quotidian, documenting the mundane aspects of a strip of land that I view as a middle ground sandwiched between two dense parts of the city; a place for meeting. I learnt the power of walking as an ethnographic tool as something that offers an opportunity to delve into everyday aspects of others people’s lives. Walking is a powerful ethnographic tool which should not be overlooked in future ethnographies I engage with, something which usually is seen as a means to access other tools. 

www.kubalazarus.com

Heather Shuker - New Series

Sierra Leone is one of the poorest countries in the world. A long and cruel civil war, marked by barbarism such as machete amputations of civilians, ravaged Sierra Leone for a decade, from 1991 to 2002. Traditional beliefs in Sierra Leone have had, and continue to have, a negative impact on people with physical disabilities, and are a cause of discrimination. The level of discrimination against Sierra Leoneans with disabilities is such that many of those affected prefer living in segregation. One of these segregated communities is the House of Jesus in Freetown. Heather Shuker’s connection to Sierra Leone began in 2002/3. Not long after peace was declared she took a career break to spend 10 months working in Freetown as a volunteer. It was during this time she started taking photographs.

Several years later, after embarking on her career as a photographer, Heather felt a desire to return, to reconnect with where it all began for her. However, this was hampered by the Ebola crisis in 2014 but she was eventually able to return in 2018. Returning 15 years later, Heather wanted to make work about the lives of the people she had helped nearly two decades earlier, she wanted to see how their lives had changed. One of her trails led her back to Patrick (who had previously been in the amputee football team). Patrick – disabled from polio – was living in Freetown’s House of Jesus.

She became fascinated with this community and the openness and willingness of the people there to let her into their close-knit lives. Each member and their family have as their home a single, tiny room, less than 2 metres square. The community itself has over 200 people with around 100 children. Corruption is endemic in Sierra Leone, and despite government enacting positive changes in policy, there is little evidence of these being implemented. Heather’s photographs include images of daily life within the confined spaces in this compound, alongside portraits of the community members.

This series of photographs is only the first chapter in their story. Heather is continuing to work with the House of Jesus, helping them to secure land to build a self-sufficient community. It is her intention to go back as soon as she is able to: “when I return, I want to explore more about the connection and strength of the community and how they live together in such a confined space. The next chapter will be about their frustrations – and their strong sense of humour: despite their living conditions, they have an amazing spirit and joy for life.”

Guest Feature - Luciano D'Inverno

When I was a child I often said to myself: this country has nothing, I'm talking about the province north of Naples, where there was actually very little and one had to find satisfaction with the help of their imagination. The areas between the north and east were all quite similar, at least where the urban fabric was concerned, but what has stuck with me over time was that term "nothing", which to me indicates a void full of imagination. Recently I became attracted to these places again, in the province of Naples east; where that bleak nothingness often comes back to my memory.

In the province of Naples there are many areas that are left abandoned to their fate, formed by the ghettos where I spent my childhood. I am fascinated by the idea of ​​desolation, of the emptiness that is reflected inside of those places, otherwise know as the "land of fires" which has a high rate of pollution decay and abandonment. What still interests me is being able to convey the emptiness that envelops these places, and perhaps even me.

Luciano D’Inverno is from Acerra in Naples, Italy. His photographic research investigates how the human gaze perceives space. Previously working in advertising photography, he attended the Academy of Fine Arts of Naples where he met Ennery Taramelli, a historian and photography and art critic. Together they published the books Vesevo, IntraMoeniaed, Campi Flegrei and Qui i piedi non si posano per terra.

www.lucianodinverno.com

MAP6 - New Publication

MAP6 are absolutely thrilled to announce our new photobook! Featuring work by Richard Chivers, Rich Cutler, Barry Falk, Raoul Ries and Paul Walsh, The Isolation Project is now available to purchase from our shop.

Barry Falk - New Series

The island of Gozo, known locally as Għawdex, is part of the Maltese archipelago and part of the Republic of Malta. Gozo has been inhabited for thousands of years and you feel it’s age as you enter from the harbour: its architecture of low, limestone buildings built on top of a rocky landscape is reminiscent of north Africa and the guttural spoken language sounds more Arabic than European. Gozo, like Malta, is predominantly Catholic and religious figurines proliferate, from large statues in the streets to small figurines in the toilets. But it’s history goes back much further than this: it is etched into the stone and evident in the archaeological evidence of Neolithic temple ruins. Gozo, as part of Malta, has been ruled by Phoenicians, Romans, Arabs, Sicilians, French and British. Malta itself was part of the British Empire for 160 years, gained its independence from Britain in 1964 and became a Republic in 1974, and there are indications of this on the island, the odd English folk with UK passports still form the largest group of foreign residents living on Malta and Gozo.

For Calypso’s Cave I set myself the task of exploring the 26 sq mi to patch together a picture of its culture and landscape. The Gozitans are a hardy people, as busy harvesting salt as catering to the tourists, and the interior harsh, its coastline cliffs reminding one that this is as much a potential prison as a paradise. The island is linked to both fact and fiction: it has a fabled history linked to the Greek myths: Calypso’s Cave is apparently located on the island and believed to be the same cave that Homer refers to in The Odyssey. And this myth, that tells the tale of Odysseus marooned upon the island of Ogygia, trapped by Calypso, the Goddess Nymph, links in strange ways to a wider narrative of today. The locals sell their trinkets to the tourists; the retired Brits scour the beach with metal detectors and buy their retirement homes, the legacy of 160 years of the British Empire, but what is less talked about is that Gozo lies en route for immigrants making the treacherous transit from North Africa, seeking sanctuary in Europe. This is an island of secrets and myths and harsh realities.

Having lost his ship and his army to the monsters of Italy and Sicily Odysseus washed up on the island of Ogygia after drifting for nine days on the open sea. He was returning home to Ithaca, from the war in Troy, eager to be reunited with his wife Penelope. When he reached the island he was greeted by Calypso, the Goddess Nymph, daughter of the Titan god Atlas and Tethys, who promised him immortality and eternal youth if he would stay with her. She led him to her cave, which was surrounded by a luxuriant wood of alder and poplar and sweet-smelling cypress and a trailing vine. However, despite his initial thoughts that he had reached safe sanctuary, Odysseus soon realised that he could not escape the island. He fell into sorrow and sat on the shores, looking out at the restless sea, shedding tears of grief. He longed only to escape, to return home. Calypso kept him captive on the island for seven years until she was obliged by the Greek gods to allow him to leave. She gave him an axe that well fitted his hands, led him to the borders of the island where he could cut down alders and firs and fashion a boat, and gave him cloth for a sail. The name Calypso is linked with the Greek word καλύπτω, meaning: to conceal.

Guest Feature - Jonathan Turner

Commissioned by community arts company Transitions17, Seeing Southbank was shot over the long hot summer of 2017 in Southbank, Middlesborough. Comprising of a series of photographic workshops and popup street based portrait studios, the project aimed to provide a point of cultural exchange in an area of very little arts provision. Southbank has suffered high unemployment, crime rates and substance abuse, alongside poor life expectancy and lack of opportunity. The photographs include images of place, alongside portraits of community members who, against this dark background, are still proud of where they come from, and who still greet strangers with a characteristic warmth.

The piece was a community engagement commission in an area of low arts provision. Much of my work has, over the years, been this kind of thing; working with communities, and finding ways to engage people (often described as 'hard to reach') in arts activities. I was given the use of some space in a local community gallery (known as Saabat Gallery), where Transitions17 was based. I used that as a base to run photography workshops, and where the work was eventually shown after the project ended. 

Over a period of about two months I ran a drop-in workshop every week, which was attended by a variety of people; some from a local arts group, some from a local addiction centre I approached, and some just came as they heard about it through posters and flyers I distributed. When we exhibited the project the workshop participants all had their photography included in the show as well. 

I set up a series of street based popup photo studios using a portable flash system with an Octobox, on a boom arm, with my camera mounted on a tripod. I had a small sign on an A-board advertising 'Free Portraits', with some details about the project. Anyone who wanted to get involved could have a free portrait. On some occasions I gave people a remote trigger and let them take their own portrait, I called these 'Posh Selfies'. I liked the idea of playing with the notion of the 'selfie'; I was curious about how people would present themselves when creating a self-portrait without using a mobile phone.

Jonathan Turner is a documentary photographer working in the North of England. Focusing on themes of community and identity, Jonathan is interested in how people belong to, and identify with, people and place. Jonathan’s work consists of publicly funded projects and commissioned pieces, often with a focus on community engagement. 

www.jonathan-turner.com

Finntopia - MAP6 Photo Talk

In 2018, 2019 and 2020, the UN’s World Happiness Report ranked Finland the world's happiest country. What is it about Finland that makes the country so successful and seemingly such a great place to live?

In their new book Finntopia, Danny Dorling and Annika Koljonen explore what we might learn from Finnish success. The world’s happiest country was also the subject of a recent project by the UK based photography collective MAP6. Nine photographers visited Finland focusing on themes around happiness.

The Finnish Institute and Embassy of Finland in London invited Danny Dorling (of University of Oxford) and Rich Cutler and Paul Walsh (of MAP6) to discuss their findings on Finnish happiness. The London correspondent Annamari Sipilä (of HS – Helsingin Sanomat) will comment from the perspective of a UK-based Finn. The discussion will be moderated by Press Counsellor Heli Suominen from the Embassy of Finland in London. Tickets available are free and available here

Richard Chivers - New Publication

Richard Chivers has a new limited edition publication available to purchase. It is a fold out publication of his project OFF - Grid, edited with new images and designed by the super talented Stanley James Press. The series captures some of the UK’s Gas holders before they disappear forever.

£12.00 plus £2.00 P&P

Edition of 100.

You can purchase the publication here

Guest Feature - Ian Hughes

As a child, I loved walking from my Grandad’s house to night football matches at Goodison Park, home of Everton FC. The floodlit stadium looked like a distant beacon drawing us in towards it, lighting the surrounding streets like a Hollywood film set. I still get excited now when I see distant floodlights – from Premier League stadiums to local village club grounds. Over the last 15 years I have been photographing the landscapes surrounding floodlit football club grounds at night. Instead of going inside to watch the games, I spend the 90 minutes trying to take a picture that captures the visual spectacle outside, before the referee blows the final whistle, the lights go off and the landscapes return to darkness and normality. I’ve photographed well over a hundred grounds - including all fifty floodlit grounds in Sussex

in 2004 I was passing Rotherham United FC’s old Millmoor ground while they were playing a local derby against Sheffield United. It was a tatty old ground but because the stands were so small and the floodlight pylons were so tall - the surrounding area was very brightly lit and to me it looked very photogenic. Luckily I had a tripod with me so I took a few pictures from a nearby bridge. I’ve always loved football, and in particular football grounds. The first thing I look for when visiting a new town or city is the local football stadium. When a match is going on inside a ground, I find the atmosphere in the surrounding area fascinating. For example watching an old lady pulling her shopping trolley past a large stadium with absolutely no interest in the spectacle that the crowd is excited about, along with millions watching on TV around the world.

My aim is to capture the world as it really is - unaffected by me pointing a camera at it. Most of work is made candidly, except for the Love Boat Rejects, which is a collection of pictures taken by me and my fellow photographers onboard American and Italian based cruise-ships throughout the 1990's. That was my first job when I left art college in Merseyside in 1989. I continue to take a camera everywhere I go and photograph the world out of pure interest rather than just with a view to selling my work. In recent years my personal photography has become increasingly nocturnal.

www.ianhughesphotos.com

Richard Chivers - New Series

I am currently working on a new project called Where Two Rivers Collide. I grew up in a village called Overton in Hampshire. The River Test runs through the village and its source is only a few miles outside. As a kid I would cross the river on my way to school and would stop to try and spot trout, I would often wonder where I would end up if I floated down it. The Test actually ends up in Southampton where it collides with the river Itchen to create Southampton Water.

Both the Test and Itchen are chalk Rivers. They are typically wide, shallow and crystal clear. Their alkaline waters are pure thanks to the constant purifying and filtering in the chalk. They are an irreplaceable relic of our past, created as the ice sheets retreated from England 10,000 years ago. Geographers say there are only 210 true chalk streams anywhere in the world, and 160 of them are in England. They are England’s unique contribution to global ecology. The rivers pass through picturesque villages and countryside and are famous for their trout fishing.

As the rivers collide to create Southampton Water, suddenly these gentle pure waters become a hive of activity. Housing and leisure areas become mixed with the industry of Southampton Port and Fawley Oil Refinery and Power Station. My initial thoughts for the project were to follow the River Test from its source to the sea, however at this stage I have become more interested in the last stretch in Southampton Water where they collide.

At the moment I am just collecting images to see what I end up with, at times moving slightly away from the river to capture things I find interesting. I will head back to these locations during the different seasons over the next year to see where this project takes me.

Guest Feature - Robert Ashby

For his series Shut In Shut Out Robert Ashby photographed the large, blank gates that have been installed at high value single-family residential properties, as a powerful visual metaphor for the increasing separation of people in our communities.

Both economically and physically, these large high security gates are a statement of being not just financially successful and having a way of life that needs protection and privacy, but also of not being a part of what is happening elsewhere in our society; independent and unaffected, indeed uninfected, by it. The images featured were made in Nottingham, Brighton and Bexhill and the series has also been made into a limited edition hand bound artist’s photobook, including a poem by Henry Normal entitled “How to Make an Underclass” on the phraseology of separation in society. I shall be continuing to make images in the outer fringes of urban conurbations, where the wealthy get more space beyond the semi-detached suburbs, but within easy reach of the city centre. Generally I find these areas by looking for expensive properties on the Rightmove property sale website, and then looking at the areas identified on Google streetview.

Since 1995 Robert Ashby has combined his work in high-tech startup businesses with the development of his own photographic practice which addresses human, social and cultural issues. He has been director of Hereford Photography Festival for three years, as well as a curator and writer on photography.

robertashby.net

Paul Walsh - New Publication

MAP6 photographer Paul Walsh has been working with Another Place Press to publish his series Far From the Centre of Things which he made in Shetland. The project is part of the ‘Field Notes’ collection of zines, which is now available to purchase for just £8 from Another Place here. There are a only a limited number of copies, which are already selling fast, so be sure to order asap!

Raoul Ries - New Series

In 1340, John I of Luxembourg, King of Bohemia and Count of Luxembourg, founded the Schueberfouer as a market in Luxembourg city. Over the next 679 years the event transformed into one of the largest travelling funfairs in Europe, attracting up to two million visitors. The fair has since then been cancelled in 1915, during the First World War. It is one of the cultural highlights in Luxembourg and has been proposed for inclusion on UNESCO’s list of intangible cultural heritage. As a preventive measure against the viral disease COVID-19, Schueberfouer had to be cancelled in 2020. The council of Luxembourg City replaced the festival with decentralised small funfair attractions in nine different neighbourhoods of the city. 

The situation ticked several boxes for me: I like to photograph environments in which someone actively tries to pragmatically improve a place while facing pressure. The time factor is important for me as well. The mini-fairs replacing Schueberfouer transformed several suburbs of Luxembourg City for a brief period. I am also attracted to contrasts on several levels in photographs. The pictures in the series The Great Disruption show foreign elements in otherwise plain neighbourhoods. The funfair attractions are meant to entertain people and be fun, yet they are empty and the places feel a bit grey. I had to get up early in the morning to capture that ambience. 

Despite staying in Luxembourg for only a brief duration, I decided to photograph all of these sites: Place de la Constitution, Rue de Strasbourg, Merl Park, Place Jeanne d’Arc, Place de Roedgen, Laval Park, Place August Laurent, Place Thorn and Kinnekswiss Park. 

New Show - Barry Falk Undiagnosed

For my current exhibition Undiagnosed I was very keen to find an outdoor venue with a lot of space. This was partly because of current circumstances around Covid-19 but also because I wanted a venue large enough to accommodate a long series of images that were repetitive in typology and gained resonance in numbers. When I saw the West Buildings Shelter I realised this was ideal and had huge potential: a central location with very busy footfall, a prominent spot that grabs your attention as you approach, and a rectangular space that meant the exhibition would be a continuous experience as you walk around the circumference. 

To utilise this space I needed to tackle a number of technical issues: the exterior space is open to the elements; previous prints on foamboard had twisted in the wind and rain. I wanted a flat unframed image that I could attach directly to the wall. In consultation with Spectrum Photographics we decided upon Blueback prints, the same type of paper used for billboards, applied using basic wallpaper paste. Likewise, the sign for the exhibition needed to be adapted to the space as I wanted large but understated lettering; in discussion with Subway Exhibitions we decided vinyl lettering on a large sheet of hard perspex attached to the wall by screws. The installation was challenging as I'd set aside only two days to measure up the space, paint the walls, attach the sign and paste up the images before the Photo Fringe festival launch. I had no control over the weather and as rains lashed down and the wind blew I wrestled with the images. 

The public response has been overwhelmingly uplifting and insightful as well: the portraits of local people in lockdown opens up conversation; for some it has been a very moving experience. There seems to be a lot of resonance for visitors when seeing a series of intimate portraits of people in their doorways, on the thresholds of their homes. For me, the project also continues in another form - as both a public exhibition and an opportunity to share ongoing experiences.

Undiagnosed comprises of 30 portraits of people living within Worthing and is at the West Buildings Shelter, Marine Parade, Worthing. Undiagnosed is on show for the entire month of Photo Fringe 2020.

Guest Feature - Nicholas Priest

My dad used to drive up and down the A46 as a national salesman for different companies, and I still remember the orange lollies from Little Chef that he would bring home, and the small BP albums that we used to collect. My dad is sadly no longer with us, and during my drives along the A46 between work, my moms house and home, I began thinking about our phone conversations and in doing so found the A46 project.

The A46 project is a personal journey through the places where I grew up and where I live now in Broadway. Whilst growing up my family would use the road to get around taking me to football games, to Birmingham or further afield on holiday. I now teach photography at a local college and use the road to drive between work and home. Whilst driving I used to speak to my dad, but since we lost him I found myself not on the phone anymore, but looking and remembering where this road has taken me. Paul Graham’s A1; the great Northern road, and the photography of William Eggleston and Stephen Shore have been a big influence on the project, especially for their use of colour and capturing the sense of a journey.

Whist driving I often stop, put on a high vis jacket and take photographs of the places that I might overlook or miss when driving. All of the images are taken from the side of the A46 and I always keep my camera in the car in case I see something.

Nicholas Priest uses photography to document everyday life as he sees it. He is currently studying an MA at Gloucestershire University and has a BA in photography from Birmingham City University and teaches photography at Stratford college.

www.nicholaspriest.com

MAP6 Interview by Document Scotland

Recently some members of The MAP6 Collective were interviewed by the brilliant Document Scotland, as part of a collaborative exchange between both collectives. The first of these interviews is a portfolio piece that talks about working and functioning collectively, as well as the making of the MAP6 Shetland Project. This has now been featured on the Document Scotland website which you can check out below.

Guest Feature - Carly Clarke

The Downtown Eastside (DTES) in Vancouver is well known for its crime, addiction, poverty, prostitution and homeless people. Having lived near this part of Vancouver, I wanted to get to know some of the residents individually. I saw an opportunity as a photographer to collaborate and have a greater insight into their daily lives. I wanted to capture a different side of Vancouver’s DTES residents.

My approach meant spending many weeks in freezing temperatures during a harsh winter. The street photography aspect allowed a certain freedom, giving a voice to the people I talked to and photographed, and a chance to see what an outsider would not - a more authentic side to their lives. My work came from a compassionate, necessary, and positive approach to the individuals in the community.

It was important to create relationships with people, and spend time with them so that they felt comfortable opening up about their personal lives. My interest stood firmly in treating the people I photographed without judgement, to oppose stereotypes, and to raise awareness of the east side dwellers.. When people view my photographs, I want them to see each individual as a reflection of themselves. Everybody wants to be understood. Nobody wants to have a mental illness or a drug addiction.

Often those that I met in the DTES were people who had fallen on hard times, but they were friendly and willing to participate in my project. Even the most threatening, insensitive people were willing to listen to what I had to say.. For most, if not all of the people I encountered, addiction played a major role in why they were there. The series is called Remember Me: Vancouver’s DTES.

Carly Clarke is a documentary photographer based in England. Her work has led her to explore issues such as homelessness and drug/alcohol addiction, and elder abuse and abandonment in India. She also produced a self-portrait series ‘ Reality Trauma’ about the effects of chemotherapy during a personal battle with cancer, exploring her identity and what it means to face the edge of life. As well as more recently documenting her younger brother who faced the same cancer, 8 years on. Her work has been published by the BBC, British Journal of Photography, POV Magazine, Portrait of Britain, Jornal Contacto, Metal Magazine as well as other online and print publications.  

carlyclarkephotography.co.uk

Raoul Ries - New Publication

MAP6 Photographer Raoul Ries has a new publication of his series Comfort Zone Helsinki. The work was made as part of the MAP6 Finland: The Happiness Project and explores social behaviour as a main factor in individuals’ happiness. Raoul asked strangers in Helsinki if he could take their picture from various distances ranging from public and social spaces to personal and intimate spaces. As soon as a person indicated he was getting too close, he stopped photographing.

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52 pages

148x190mm

Printed on Xerox iGen, 4/4c,  170 g/m² matte paper

Soft-touch cover 300 g/m²

100 numbered copies

Purchase for €10 from Raoul Ries website

Barry Falk: Undiagnosed Exhibition

In response to the Covid-19 Pandemic, MAP6 photographer Barry Falk decided to capture some of the atmosphere of these strange times. His method was to photograph as many of my friends and neighbours as possible within walking distance of where he lives in Worthing. He was restricted by Government Guidelines around public safety; going out was itself a risk, so he limited himself to one or two photoshoots per daily walk. This required careful planning, setting up a system of appointments, maintaining a safe distance, using a long lens for the close-up shots. The response was overwhelmingly affirmative: people wanted to be a part of a collective project, to be noticed in this time of social distancing. As the project developed it began to link people together, forming a collective sense of self during this socially isolated period. 

Undiagnosed will be exhibited for the first time as part of the Brighton Photo Fringe 2020. The show will comprise of 30 portraits of people living within Worthing. The exhibition is outdoors and will therefore be open to viewing 24/7. The show opens on the 3rd October at the West Buildings Shelter, Marine Parade, Worthing. You will be able to meet the artist, and appointments will be available to book soon.

www.barryfalk.com