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  • 1. For six weeks, in the winter of 2014, I lay on my couch with my swollen foot higher than my head. I had torn my Achilles tendon, and time, as I’d heedlessly known it, had stopped. Normally, if I’m not working for a couple of weeks I feel like I’m wasting time. It’s a phrase we all use, but what does it really mean? As I spent weeks doing next to nothing, the idea of wasted time disappeared. Slowing down made me feel the hours pass palpably, and to my surprise, the value of my time increased with my stillness. Between episodes of The Wire, I played gin rummy, read, ruminated, or drifted into a stupor. An array of books sat in piles around the couch and now I picked [...]

  • Why I Hate Photography.  I hate photography when it reflects prejudices at large in the world such as a still enduring lack of gender parity and diversity in our culture. Why is it that so few, if any, women above forty-fiveare considered seriously in influential photo agencies?  I hate photography for its broken promises offered to its women students who so eagerly immerse themselves in its potential, making work that challenges but unable later to deliver the quality of work and compromise necessary to stay visible. How will they be able to sustain their creativity in an increasingly conservative climate discouraging them from achieving, and the dispiriting demotions in academia or commerce once they take maternity leave?  So many women show promise and talent yet so few can claim the time and space necessary to sustain their practice. One of the solutions is for women to come together [...]

  • HOTSHOE: How did you become interested in Photography? Simon Roberts: My earliest connection with photography was the sporadic Sunday afternoon slideshow sessions we had at home when my Dad, a keen amateur photographer, presented his recent Kodachromes. Whilst I studied photography at school, my academic career began with a degree in Human Geography at the University of Sheffield, before taking up photography seriously in 1997 after graduating, studying photojournalism. Geography has been a constant grounding to my work. The question of how photographs are important to the construction of senses of place has informed my practice, where I’m interested in exploring the idea that landscapes need to be decoded to gain an understanding of the complicated cultural terrain where contrasting and sometimes conflicting versions of national identity are played out. HOTSHOE: How would you describe the character of London? SR: I was born [...]

  • HOTSHOE:  To begin with, how did you make the photographs?Anthony Carr: In terms of technique, I mostly use homemade pinhole cameras and film. The cameras are fashioned from old 35mm film canisters so they are nice and discreet which means I can leave them all over the place for long periods, knowing most of them won’t be discovered. It also means I’m able to install them in some strange nooks and crannies. This helps me to get some interesting viewpoints and also explains the strange perspective in some of the photographs due to the curved film plane of the canisters. The other essential element in the majority of my work is an elongated or extended exposure time. These particular photographs were created over 4 days which allows us to witness [...]
  • Joe Faulkner recently spoke to photographer Laurent Kronental about his images of the powerful and ghostly landscapes of the Grands Ensembles in Paris. JF: How did you become interested in photography?LK: My passion for the image goes back to my childhood, but I only started photography at the age of 22, while traveling for six months in China. I was then living in Beijing and was using a small compact digital camera to capture my Asian experience. Fascinated by large cities, I was very excited to be part of one of them and be able to visit the country that had intrigued me for so long. From mega-cities to rural areas, everything in this country is overwhelming. Hong Kong was determinant. I was literally absorbed by its atmosphere: the palpable tension [...]
  • Photofusion and Rockarchive have collaborated to create this timeline of portraits of David Bowie, Silhouettes and Shadows. From an innocent boy playing in front of a small crowd to the Starman we all know. Joe Faulkner spoke to the founder of Rockarchive, Jill Furmanovsky, who is a prolific rock photographer in her own right.Joe Faulkner: How did you find yourself with the opportunity to photograph these people?Jill Furmanovsky: I presume you mean the rock and roll musicians?! As a student in the early 1970s I worked at The Rainbow Theatre in London taking live shots directly for the theatre. There I photographed concerts by the likes of The Who, Pink Floyd, Van Morrison, The Faces etc and could also photograph some rehearsals, which meant I met a few of the [...]