187 Spring
 


In our Spring issue we look behind the Belorussian propaganda machine with Rafal Milach in The Winners; venture into the harsh North American wilds in Lucas Foglia's Frontcountry; take a closer look at Aaron McElroy's sexually charged and strikingly visceral images in I Lied; re-evaluate the materiality of the photograph with Letha Wilson in Land Marks; pour over mug shots that bear little resemblance to Paul Schiek in Dead Men Don't Look Like Me; and try to reconcile the Universe with the pound shop with Jason Fulford in Hotel Oracle.

 

 

We also talk to the New York Times Magazines Director of Photography Kathy Ryan; look at the history behind Nazi pigeon cameras; examine Social Responsibility and the Photographer with A. D. Coleman and review Trent Parke's The Christmas Tree Bucket and Paul Kwiatkowski's An


In our Spring issue we look behind the Belorussian propaganda machine with Rafal Milach in The Winners; venture into the harsh North American wilds in Lucas Foglia's Frontcountry; take a closer look at Aaron McElroy's sexually charged and strikingly visceral images in I Lied; re-evaluate the materiality of the photograph with Letha Wilson in Land Marks; pour over mug shots that bear little resemblance to Paul Schiek in Dead Men Don't Look Like Me; and try to reconcile the Universe with the pound shop with Jason Fulford in Hotel Oracle.

 

 

We also talk to the New York Times Magazines Director of Photography Kathy Ryan; look at the history behind Nazi pigeon cameras; examine Social Responsibility and the Photographer with A. D. Coleman and review Trent Parke's The Christmas Tree Bucket and Paul Kwiatkowski's An

£ 9 + £2P&P