Yiftach has a fascinating collection of intensely poignant and personal photography, focusing mainly on the path to manhood in Israeli culture. This extract is from a set of photos taken in Romania, Belsky adding ‘I felt a silence waiting every where I went.’
I’m not sure how well Only Fools And Horses translates as a cultural reference point to our international readers; there’s something quintessentially British about the sitcom featuring a get-rich-quick ducker and diver in his (pre-trendy) Peckham flat. But young London-based photographer Nadia Lee Cohen took Del Boy’s now-iconic home – with its charming hodge-podge of faux sophisticated stylings – and used it as the backdrop for this slightly unsettling shoot. Nadia’s work has a very pronounced slick, shiny and colour-saturated aesthetic that fits this slightly odd narrative perfectly – this mysterious femme fatale seems at one moment confidently at home in Del Boy’s surroundings, at others slightly bewildered. It’s weird, and I love it.
Shot at his house in Brooklyn, New York, David Armstrong’s series 615 Jefferson Avenue creates an aura of mysticism around the young male models. Some are muscular, some are boyish, but they all seem strangely ethereal. They exist in a world apart from the everyday; free from work, from worries, from the washing-up. Armstrong’s apartment is a wonderland of sorts, filled with masks, gilded mirrors and flower wreaths. His “muse,” Boyd Holbrook, even has pixie pink hair (although I suspect this particular Peter Pan left Neverland quite some time ago). For you, dear reader, we’ve picked a selection of portraits which are free from bed sheet, ruff and top hat.
Where is the limit of what the camera can capture? Can the paranormal be pictured? So asks Alexander Gehring’s series Messages from the Darkroom, exploring photography’s ability to portray paranormal phenomena.
With over 600,000 snap happy visitors a year, you can imagine that Elvis Presley’s infamous Graceland mansion is pretty well documented. But it takes someone truly special to photograph something famous and still make it seem brand new, which is why we’re glad that Hedi Slimane – lover of rock and roll, and young, good-looking, rebellious men – took a trip to Elvis’ Memphis home late last year and brought his camera along.
Stripped of snow, Ettore Moni’s alpine landscapes are scarred by access roads, crisscrossing electricity wires and ski lift cables. The raw beauty of his scenes is interrupted by ugly concrete buildings, plastic fencing and piles of pipes. If Maria and the von Trapps came skipping over these mountains, the sound of music would hit a rather discordant note.
This time last year Sam Bradley had just moved up to London to concentrate on his fashion photography – which we have to say, he was pretty damn good at. This year he’s still busy working away on fashion editorials, including a lovely shoot for the latest Wonderland, but he’s been getting outside a lot more, shooting mountaineers, skateboarders and racing drivers in a style so crisp you feel almost able to reach out and touch the scenes he’s captured. I’ll admit a certain bias towards photographers working in nature – I go mad for a mountain view – but Sam’s managed to make even tedious, high-budget motorsports look exciting and unusual, for which he deserves an enormous amount of praise.
When Rapha launched their brand ten years ago they did it with an exhibition on cycling history and a book that documented some of the greatest stars and stories of competitive road racing. The book showed candid shots of legendary riders like Fausto Coppi hanging out in his pyjamas and Bernard Hinault in a grump on the train, exposing these famous gents out of the saddle, carrying on like normal human beings. To celbrate their tenth anniversary Rapha have re-printed and re-released the book (no long out of print) upping the print and finish quality in the process. The results, we think you’ll agree, look pretty spectacular!
Whether catching a glimpse of a funeral ceremony over a black-clad shoulder or seeing young boys play football in dappled sunlight, Noah Rabinowitz’s beautiful images truly make you feel like you’re observing something intimate, something special.
Dino Ignani spent the early 1980s in many a “discoteche o video-bar" capturing the “dark” wave. From hanging out in cafés and bars with artists in Rome, he began to follow these newcomers with big barnets and kohl a-plenty to music events and club nights. He would create an ad-hoc set, and invite everyone there to have their portrait taken. The result is an enormous gallery of 400 images, mostly black and white, wonderfully random and totally intriguing. Who are these people?
For an image maker whose craft relies on capturing light to take all of his photographs by moonlight might seem a little impertinent, but Alejandro Chaskielberg doesn’t seem to care about following any preconceived ideas. The Buenos Aires-born photographer has fully replaced lighting equipment with the natural environment by taking images by the light of the full moon. His technique comes as a breath of fresh air to those familiar with photographic projects which aim to muster sympathy for subjects living in underprivileged areas; this is something else else entirely.
Belgian photographer Wouter Van de Voorde started out as a painter in his homeland before discovering that photography offered him more of the creative freedom and opportunity for introspection than his original medium. Since taking up photography he’s exiled himself to Autralia where he uses his outsider status as a driver for creative expression, exploring the quirks and nuances of Australian culture and landscape in the hope of creating a sense of belonging through his work.
I’m sure there are plenty of documentary photographers for whom going to Brazil to capture the World Cup would be something of a dream, but as far as I’m concerned none of them even come close to the exceptional Jane Stockdale. After having her application to photograph the crowds watching the Commonwealth Games in Glasgow turned down three times, she decided to take matters into her own hands, and jumped on a plane to Brazil to shoot audiences there instead.
Colombian-born, Spanish-based photographer Manuel Vazquez was an economics student before he decided to make his living from image-making. A quick transfer to Spain, some courses at New York’s School of Visual Arts and a Masters in Photography and Urban Cultures at Golsmiths later and he’s quite the photographic talent. The economy’s loss is photography’s gain. Now he shoots regularly for the likes of The Guardian, The Times, The Sunday Times and The British Journal of Photography predominantly taking slick portraits.
