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1854 British Journal of Photography

10 stories

1854 British Journal of Photography

1854 British Journal of PhotographyCulturePhotoworks Festival 2026 regenerates in Brighton & Hove Its first in-person undertaking since 2018, this year’s Photoworks Festival embraces the possibilities of uncertainty with a series of events across Brighton &…

1854 British Journal of PhotographyCultureA tribute to Ian Berry, 1934-2026 Magnum Photos' Ian Berry passed away on 13 September at the age of 92, a committed documentary photographer whose work made a real difference

1854 British Journal of Photography

1854 British Journal of PhotographyCultureExpanded photography: the work of Forensic Architecture and Giles Price Forensic Architecture transforms photography, mapping, testimony and photogrammetry into counter-forensic evidence across the globe

1854 British Journal of PhotographyCultureFarewell Jean-François Leroy, passionate director of Visa pour l’Image and defender of photojournalism Director of the Visa pour l'Image festival of photojournalism for nearly 40 years, Jean-François Leroy passed away just as it opened for the 38th time.

1854 British Journal of Photography

1854 British Journal of PhotographyCultureMaking Chris Killip’s North “To be given the keys to the archive is a privilege,” says Mark Holborn who, nearly four decades after editing Chris Killip’s seminal In Flagrante, was trusted by Killip’s son Matthew to make a new…

1854 British Journal of Photography

1854 British Journal of PhotographyCultureSpotlight on Takuma Nakahira A new book considers the key 1970s work of Japanese photographer, political writer and co-founder of Provoke magazine Takuma Nakahira

1854 British Journal of Photography

1854 British Journal of PhotographyCultureRania Matar’s Where Do I Go? documents Lebanon’s women through a question the country won’t stop asking Rania Matar returned to Lebanon for years to photograph the women navigating a country in perpetual crisis. By the time her book was published, war had returned with a question impossible to…

1854 British Journal of Photography

1854 British Journal of PhotographyCultureSergio Valenzuela-Escobedo deconstructs the genealogy of the camera in Mänk’áčen Sergio Valenzuela-Escobedo’s latest exhibition, Mänk’áčen (Revision 6), at Mumbai's Dilip Piramal Art Gallery, National Centre for the Performing Arts, expands on long-term research into the…

1854 British Journal of Photography

1854 British Journal of PhotographyCultureIn the Studio with Louis Porter A member of the London Library, Louis Porter uses it multitude of books and grand surroundings as the hub of his photographic practice

1854 British Journal of Photography

1854 British Journal of PhotographyCultureDark Tales at MPF traces the shadows in documentary photography A new exhibition drawing on the Martin Parr Foundation’s collection of documentary images reveals an eerie weird in the everyday

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· Trade shows and launch events, this week's stories from each corner of the industry, and what its press is covering.

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About

The small bracket on top of every camera, from a phone rig to an ARRI.

The hot shoe is where the flash goes, and the microphone, and the monitor, and whatever the next decade bolts on. Every camera has one and nobody photographs it. This magazine is named after it because that is where the whole business meets: the body, the glass, the light, the sound, and the person holding it.

I shot news in Gothenburg for nine years and documentary for hire after that, then stopped taking assignments to write about the tools. Since 2021 I live in Tokyo, ten minutes from the used-camera shops of Shinjuku, which is not an accident: Canon, Nikon, Sony, Fujifilm, Panasonic, Ricoh and Sigma make almost everything worth pointing at a subject, and their own press writes about it first, in Japanese. So this magazine reads it there, and in German, French, Italian and Spanish, and in English from the reviewers who actually put a card in the slot — around eighty sources and thirty channels, counted and plotted so you can see what is moving.

Bodies and lenses, cinema cameras and drones, film and the darkroom, firmware and the software that finishes the picture, the rumours before the launch and the reviews after it, and the photographers and shows the rest of it is for. I test what I write about on a job before a word goes down. I shoot film on Sundays and do not think that makes me interesting.

A story here is a headline, a short excerpt, one picture and the link to whoever reported it. We never reprint the article, and the picture belongs to the photographer or the maker. A story written in Japanese appears in Japanese, as its author set it down; the link goes to the original.

— Mara Lindqvist, Tokyo