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 © Brian David Stevens

 "The faces look out at you from the street, posters for the missing and the dead are everywhere in the area. They were a constant when I was photographing. It was vital to record these before the posters faded and disappeared and the victims became just numbers and statistics. The faded images were important.

"I started to photograph Grenfell Tower the day after the fire. I took these pictures as a member of the public. I was in the same state of shock as everybody was as I walked around the block. I didn't want to use privileged viewpoints, I wanted the same view as everybody else. I used a camera with a fixed lens that gives a similar viewpoint to your eyes, you are seeing what I'm seeing and hopefully nothing is getting in the way of that vision.

"I photographed the area every day for a month after the disaster, circling the tower. You have to immerse yourself in the subject, but no matter how many times I went back, each time I saw the burnt out husk of Grenfell Tower it utterly floored me. It never became 'normalised', it was still utterly shocking. Every day I just walked round the site making pictures, but mainly just looking. The tube station (Latimer Road) is next to Grenfell Tower and still, weeks later, the tube goes quiet as it passes; the streets are quiet. There's a huge amount of anger there under the surface. The presence of the burnt out block casts a black shadow over the area. It's been described to me as a vast tomb in the sky. It must be incredibly difficult to get on with life seeing it there every day.

"I've seen the story being exploited by all sides of the debate, without much thought for the actual victims of the fire. It's a complex situation and it helps nobody to describe it in soundbites. The BBC has been doing a very good job there. People are angry though and people are in pain, this must be realised. I knew I had to try to make honest, respectful work, and I hope I have." - Brian David Stevens, August, 2017.


The series will exhibit as part of the Northern Eye Festival in Colwyn Bay, North Wales, from October 9th to 21st, 2017.


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 'J' Power: Jaylynn, Jernelle, Jaison and Justin shopping for Fourth of July fireworks. After telling them that my name was Julie and that my siblings' names were Jamie and John, I said "Let's hear it for 'J' power!" and we all let out a whoop. © Julie Mihaly

 My colleagues and friends are tired of my mantra: you don't have to go far from home to make great photos. But I'm right!

"In early September 2016 I began photographing as many people within a four mile radius of my home in Poughkeepsie, NY as would let me. Although many have declined my request, many people have been willing, kind and supportive. Radius has given me the opportunity to engage with my community in a way I never have before. The fact that I end up with images, and at times, wonderful bits of information about my subjects, feels like icing on the cake. And so the project continues." Julie Mihaly.

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Dan outside Davies Hardware on Main St. Dan's been a carpenter for 35 years and said, "Frankly, I'm a little sick of it."

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John, a waiter/boxer/massage student, responded to my request to photograph him with, "With my shirt on or off?" as if those were the two options that would present themselves to anyone I might ask to shoot.

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Meg outside Stop N Shop. When I asked if there was anything interesting about her that I should know she quickly and flatly answered, "No." I laughed and said, "Well, then what would your mother say about you." She smiled, looked down and said, "That I'm wonderful."

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Lorianne preparing a batch of chocolate chip cookies in the bakery at Stop N Shop. When I asked her to tell me something interesting about herself she said, "I'm the mom of three and grandma of nine. To me that's interesting."

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Birthday girl Sophia with her brother Logan at Locust Grove. Their mom kept trying to get Logan to smile by saying, "Logan! Think about poop!"

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Shamiah and her mom Teresa outside the movie theater where they'd seen "Wonder Woman." I asked Teresa what she loved most about Shamiah and she said, "She's just love. She loves to hug people." I laughingly told Shamiah she didn't have to hug me, but lo and behold if she didn't surprise me with the most lovely embrace I've had in a long time.

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Marina on duty on Main St.. When I asked her to tell me something interesting about herself she said, "I'm obsessed with music and theater." After telling me that she'd been an EMT and cop for 16 years I asked, "If you could have your heart's desire, what would it be?" She answered, "I'd be a rock star."

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Jamal, who had a surprisingly soft voice and such kind eyes. He said, after I'd shot him, "I wish you luck with your career."

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(Clockwise from top left) Cheryl, Jenae, Timothy, Lilianna, Alisa and Leilani taking part in the weekly kids' activities fun time at Poughkeepsie Plaza.
All images © Julie Mihaly

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Gudrun Georges spent five days at the Pine Ridge Reservation in South Dakota with a non-profit group named One Spirit. One Spirit is not church affiliated, and is the only outside organization approved by the Sioux tribal council. Pine Ridge is an Oglala Lakota Native American reservation.

"The portraits were mostly done when I drove around dropping off food boxes. Some of these people's addresses were impossible to find - there are no street names on the reservation. One big thing that happened when I was there was the closing of the White Clay liquor shops. The state of Nebraska refused to renew liquor licenses to the few stores right outside the reservation. They have a huge alcohol problem in Pine Ridge and even though alcohol is forbidden on the reservation, White Clay is a short drive or walk away. Most Indians were very happy about this decision. They fought these White Clay stores for years."

Pine Ridge is the site of several events that marked tragic milestones in the history between the Sioux of the area and the United States government. 




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 © Tate Smith. Frying Pan.

Tate Smith interprets the decisive moment for ridiculous results.

We met at the School at the International Center of Photography summer course called "Faces of Coney" taught by photographers Janette Beckman and Merri Cyr. I covered the class for Beckman one day, helping the students edit photographs from their visits to New York's spectacular Coney Island.

All Tate wanted was to quote Henri Cartier-Bresson:
"To me, photography is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as of a precise organization of forms which give that event its proper expression."

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Beer Bong

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Chicken

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Ketchup

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Soccer Ball

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Detergent

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Hand. All images © Tate Smith

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 Dylan Coulter spent summer of 2015 looking at a disappearing downtown Brooklyn. He says many of the independent stores he recorded are now gone. Lifelong New Yorker Arlene Gottfried, who died this week, photographed around the city and its parks and beaches for many years, saying recently how it was hard to find anything inspiring to capture any more. So get out there and get shooting while there's some colorful life left in your 'hood.

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All images © Dylan Coulter

P.S. Join me in the admiration of baseball player Javy Baez who Dylan just photographed sans clothing...

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  © Trupal Pandya

 The Konyak are a Naga people, and are recognised among other Naga by their tattoos, which they have all over their face and hands; facial tattoos were earned for taking an enemy's head. Read more (Wikipedia).

Trupal Pandya was born and raised in India. He has a bachelor's degree in photography from the Fashion Institute of Technology in New York which is where we met, during a portfolio review. Trupal impressed everyone, and I left having pinched a print from Trupal's box and vowing to stay in touch. Visit his website for more portraits including Aghori, or Holy Men, and Aryans of the Himalayas.


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 Following on from his series Gay Wildlife, Mickey "I'll get naked too, that's fine" Aloisio spent three months on the road photographing queer men and their communities across the country during the fall of 2016. 

"During this time, I found my subjects by going to the different safe spaces of that particular area. I would then arrange to go to their home to create art with them as two collaborators. I would also stay with these men, as I was not able to afford staying in hotels for such an extended period of time. I realized through this, what the strength of a community feels like, and how belonging to such, can afford us opportunities that otherwise may not be possible."

Mickey, could you be more frank? We made a reasonably safe-for-work edit. There is more fun to be had over at Mickey's website.

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All images © Mickey Aloisio

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 Lalla Essaydi, Bullets Revisited #3, 2012 Three chromogenic prints mounted on aluminum, 66 x 150 in. overall; National Museum of Women in the Arts, Purchased with funds provided by Jacqueline Badger Mars, Sunny Scully Alsup and William Alsup, Mr. Sharad Tak and Mrs. Mahinder Tak, Marcia and Frank Carlucci, and Nancy Nelson Stevenson; © Lalla Essaydi

 REVIVAL, an exhibition of contemporary sculpture, photography and video by women artists, will be on view at the National Museum of Women in the Arts (NMWA) June 23-September 10, 2017. 

"Exploring how arresting aesthetics and intense subject matter can spur the viewer into a transcendent encounter with a work of art, the exhibition focuses on 16 artists, including Louise Bourgeois, Sonya Clark, Petah Coyne, Lalla Essaydi, Maria Marshall, Alison Saar, Beverly Semmes, Joana Vasconcelos, and Bettina von Zwehl. REVIVAL launches the exhibition schedule celebrating the museum's 30th-anniversary year."


There will be a gallery talk at midday on June 28th, 2017. Admission is free.

Located in Washington, D.C., The National Museum of Women in the Arts is the only museum in the world dedicated exclusively to recognizing the achievements of women artists.

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Anna Gaskell, untitled #104 (A Short Story of Happenstance), 2003; Chromogenic print, 71 ½ x 90 ¼ in.; National Museum of Women in the Arts, Gift of Heather and Tony Podesta Collection; © Anna Gaskell

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Deborah Paauwe, Tangled Whisper, 2004; Chromogenic print, 70 ⅞ x 70 ⅞ in.; National Museum of Women in the Arts, Gift of Heather and Tony Podesta Collection; © 2017 Artists Rights Society (ARS), New York / VISCOPY, Australia; Photo by Lee Stalsworth

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Charlotte Gyllenhammar, Fall III, 1999; Chromogenic print mounted on aluminum, 38 x 39 in.; National Museum of Women in the Arts, Gift of Heather and Tony Podesta Collection; © Charlotte Gyllenhammar

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Maria Marshall, Future Perfect, 1998; Iris print, 56 x 39 in.; National Museum of Women in the Arts, Gift of Heather and Tony Podesta Collection

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 Photos by Nigel Henderson / Tate Publishing

 Welcome to Nigel Henderson's "Streets". This wonderful book comprises Henderson's photographs made in London's East End from 1949 to 1953 - around Whitechapel, Bethnal Green and Bow - and is out now from our friends at Tate Publishing. 

"Nigel Henderson started to take photographs in 1947 when he borrowed a Leica camera from Mr. Humphrey Swingler to document Slade School of Art. His mother-in-law offered to buy him a camera so he bought his own, purchasing a Rolleicord that Henderson used to document the East End, producing small square negatives from which the photographs in this book have been reproduced."

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The book is chock full of Henderson's black and white records of the neighborhood, many of which were unpublished during Henderson's lifetime. It also includes a smattering of quotes. My favourite:

"I wish, looking back, that I had been better technically; that I sung the song of every small blotch and blister, of every patch and stain on road and pavement surface, of step and rail and door and window frame. The patched garments, the creaky shoes, the worn bodies, the stout hearts and quirky independent spirit... the sheer capacity to get on with it of the disregarded... the humour and fatalism of those trapped, possibly by choice in the small tribal liaisons of the back and side streets."

I think you did OK, Mr. Henderson.

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The book explores Henderson's place in this post-war era, with fascinating tidbits such as Henderson's guiding Cartier-Bresson around Bethnal Green in 1951.

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The Tate Archive acquired his collection across two decades and has now digitized 3,000 Henderson negatives, which you can explore here.

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Nigel Henderson's "Streets" is out now, £24.99 over at the Tate's website. Added bonus - a Martin Parr quote: 'Henderson knew how to turn a street into his own theatre. He understood the simple strength of documenting the streets of London, with their players, dramas and characters. This beautiful book really brings his photographs to life.'


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All photos by Nigel Henderson / Tate Publishing

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 Working within his usual creative process, Klaus Enrique turned, along with his stomach, to producing a series of Trumps. I think we both needed to get these out of our systems.


Brighten up with Klaus' previous feature Homage to Arcimboldo.

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