For his latest project titled '8am walks', Berlin-based British photographer Jeremy Philip Knowles had a simple objective. Leave the house at 8 am every day with his camera and capture what he saw around him. A city that often has a reputation for being dark and gloomy, Jeremy dispels this popular myth with details of colour, pattern and shadow with a project that lasted for over two years. Born in Hertfordshire in the United Kingdom in 1992, Jeremy graduated with a degree in fine art photography from Camberwell College of Art in 2015. His practice has developed into a playful photographic study of the everyday.
With a population of 349,000 and an area of 103,000 km, making it the most sparsely populated country in Europe. The Capital and largest city is Reykjavik, with Reykjavik and the surrounding areas in the southwest of the country being home to over two-thirds of the population. Iceland is volcanically and geologically active, the interior consists of plateau characterised by sand and lava fields, mountains and glaciers and many glacial rivers flow to the sea through the lowlands. In this photo series photographer Sunny Bola has captured some beautiful images of Iceland please scroll through the images below and if you like sunny’s work feel free to follow him on Instagram.
Even with all the advances in digital photography, there is something captivating about using film. It could be the fact that it requires a certain amount of patience and discipline, in a world that’s obsessed with instant gratification, or the fact that you only have a number of shots to use, making each one count.
Photographer Ioana Vrabie, who was born in Transylvania, Romania is known for her dreamlike multiple-exposure compositions that incorporate contrasting elements, reflecting the contrast she experienced growing up in communist Romania and capitalist Italy. She replicates and releases the same tension, by surfing the emotion (energy in motion) arising between two or more visual layers in her photographs.
Her images are a manifestation of the calm restlessness of life, as experienced through a heightened sense of awareness.
She enrolled in the University of Arts in London in the mid-2000’s, graduating with a bachelors in Photography. She currently spends her time between Ibiza, Spain and London, United Kingdom building an archive of beauty through her lens.
Hope you all had a good weekend? We've been enjoying over 18 hours of sunlight in Stockholm, Sweden. Since we are always on the move we thought it would be interesting to share some images from our travels. Titled 'Exposure', it will feature a selection of images taken during our time in a city or town. We thought we would kick it off with one of our favourite cities, London.
Have a great week ahead!
An artist and educator living in St Louis, Missouri, Jennifer Colten's ongoing body of work explores the vast Mississippi River floodplain, around the region known as The American Bottom. The name derived nearly 100 years ago, comprises the land that skirts the Mississippi River from Alton, Illinois south to the mouth of the Kaskaskia River. This approximately 70 mile stretch of lowland, encompasses an incredible diversity.
It was formerly occupied by the Indigenous Mississippian culture — the Mound Builders. Later, the influence of French settlers, farming practices, industrial growth and the companion company towns, dramatically affected the landscape.The force of the muddy Mississippi River cannot be underestimated in this region. Regular flooding of the land has created both some of the most fertile agricultural soil to be found, but it has also caused a regular cycle of destruction and regeneration.
This farmland, wealthy and fertile, is surrounded by wetland diversity. However, industrial presence has impacted the ground water and the soil composition. Late 19th and 20th-century coal and steel production, oil refineries, and chemical plants, along with general manufacturing and industry significantly changed the landscape.
Her interest is in the ecological, economic, and cultural diversity that exists in this region. I am specifically interested in how human impact relates to the current land use and environmental concerns.
This is a landscape sturdy and resilient; a landscape continually ripped bare, altered by natural as well as human-made forces. This is a landscape as open and enigmatic as the history it has endured. A landscape that continues to evolve and her ongoing work seeks to observe the changes as a way to reflect upon our 21st century position in relationship to our surrounding environments.
Maha Alasaker is a Kuwaiti photographer who is now based in New York City. Represented by JHB Gallery since July 2014, Maha's work has been featured in numerous exhibitions in New York City, and in the Middle East. Here we feature her series of images captured on the beach of Brighton, England in 2015. Titled "50mm, Brighton", it captures a range of subjects all completely oblivious to the world around them and Maha herself, soaking the sunshine. A rarity in gloomy England.
Dagur Jonsson is a Icelandic photographer his work is categorised into four themes. Winter in Iceland, Sunsets, Northern Lights and Icelandic Landscape - where he try's to capture multitude of subjects including the open roads, lonely houses, wide ares and abandoned places whilst reminding the viewer of the beauty of isolation and being along in nature.
"I have always considered myself an artistic person and I have always been involved in art in one way or another. Photographing is an exciting form of expression for me and I love capturing everyday moment with a moody feeling to it. For me the storytelling of a photo is very important and I try to connect with people’s emotion through my photography. Subjects like Landscapes with dramatic clouds, captivating sunlight’s, moody winter scene and the beautiful Northern Lights are a special interest to me."
As a Scientist, Barrie Dale is appalled at the way that human beings are destroying the life-support system that Planet Earth provides; it is now possible to envisage a point at which all of Nature will have been destroyed: by us. Once we have destroyed it we will have destroyed ourselves.
As an Artist, he sees great danger in the fact that Nature is no longer seen as a source of inspiration to mainstream Artists. This gives politicians and businessmen the idea that Nature no longer matters, and can be exploited at will. If nobody, not even artists, regard it as important what does it matter?
Well, it matters because, even though humans have produced many beautiful things, none of them surpasses what Nature has achieved. Every time you look at natural forms more closely than you have before you find something new, and unexpectedly beautiful.
Barrie Dale has sold hundreds of paintings and has given a number of music recitals, but is now committed to photography as a means of getting as close as possible to the un-varnished truth about natural beauty. There is no artificial lighting and no computer manipulation in his work. He believes in letting the camera tell us what it will, even when it appears to contradict what it is we think we are seeing.
Summer might be a distant memory for most of us but there's no denying these images from Gothenburg based photographer Joakim Blomquist takes us right back to those long summer days. This series titled "Promenade", an ongoing project was shot in a place called Promenade des Anglais in Nice. Popular with tourists all year round but also a natural promenade for locals. We love the light airy feel in these images. A prominent theme in Joakim's images. You can check out more work via this talented artist via the links below
"The shyness and singular beauty of people with albinism have always captured my attention."
The photophobia caused by the absence of melanin lead them to live literally in the shadow. And as photography is basically light, I thought it would be instigating and revealing to subvert paradigms and bring them to the position of “protagonists”. Between 2009 and 2014 I worked on this project and experienced a great challenge: research, locate and try and convince some of these people to come into my studio and let them be photographed. The plasticity is explored by the softness of the passages in pastel shades which permeate the work and resemble the paintings of great artist such Edgard Degas.
Beautiful portraits carved by hand, no detail is there by chance. The clothes, the people, the way they pose for the portrait, the backdrops decorated with delicate motifs are not there as an inflamed critic on the situation of albinos as different people; rather, the narrative orbits around the unique beauty that flows out of them. When I see these photographs, I feel the will to touch, to softly stroke them and smell the sweetness of each one of theses colours.
As soft as the images is the way the text is connected to the work. Names, no surnames. Names of people who now seem so close to artist. An intimate, delicate and respectful closeness.”
Tess Bukowsky observes the narratives within southern America monumental landscapes and religion.
Come Unto Me was developed when I spent some time living in Texas. I was raised as an atheist in Australia and found myself in truly unfamiliar territory living within the Bible Belt. During my time in the south I built friendships with people who were deeply religious individuals or had, at some point in their lives, been living as devout believers.
I was so preoccupied by how religion played such a part in the way they moved through life – the decisions they made, how they viewed things… even those who had given up the belief in a higher power – they were bound by it but in a different way. They seemed less concerned by the daily drudgery of their lives because their time on earth was merely the beginning of their ‘journey’. It is a hard thing to articulate outside of the conversations that I was having with these people. But so often it baffled me that this invisible force could have such a grip on their existence.
My series, Come Unto Me became a reflection of the seemingly insignificant narratives I witnessed in the every day grind of America. Most of what I shot for the series was shot in the Bible Belt. The religious connotations aren’t blaringly obvious in every single still – mainly because I didn’t want to isolate any of my audience in what I was feeling was to be my debut series of work. Of course I had more content that I have created over the years but I felt that Come Unto Me was my first complete and fully realised collection that I wanted to be out there in the world.
Some photographers are builders and some are collectors. Collectors shoot the world around them, collecting snippets of every day life – the extraordinary and the ordinary. Builders create what they want in a still. They build an image to suit what they need out of a picture. I’m a collector. I shoot what I find right in front of me. It might look like nothing sometimes but in my mind there is a complete narrative within the still image. People been and gone, the life previously lived but long forgotten. To me that is the truth. I’m not meddling with a story - I’m simply capturing it. The series is mostly composed of landscapes, because I like to focus on the unseen. As I said before there are narratives everywhere. People may not be present but they’ve been there. They have lived through that space. I think we like to brush over the small things. We look to the big things, the pretty and important things but there is something to be said in the abandoned landscapes that I love to capture. Something in them also reminds me of relationships with god along those Bible Belt towns. Without the people, they felt godless – isolated and left behind.
I think that is really closely linked to why I prefer film to digital. I’m a traditionalist; I just want to relay the most honest depiction of what I can see through my eyes. It also makes me really careful, I can’t just click away. I’ve got to really want that shot before I take it.
I was reading a lot of Raymond Carver and Richard Ford at the time and I can really see that coming through in the series. That part of America can feel desolate and forsaken and they are things that really come through in the writing that I was submerging myself in at the time. It’s the poetry in the emptiness of it, if you get my gist.
Words and Photography by Tess Bukowsky.
300 miles from my own doorstep, 110 miles from London and 20 miles from the UK. This is the ‘Jungle’ one of the largest refugee camps in Europe housing nearly 6000 migrants from all walks of life. It’s not hard to find though as there is a constant stream of people walking to and from the camps, some volunteers and some refugees. Upon first approach aside from the numerous riot police and vans dotted along the perimeter, you would assume from your first look that you have stumbled across a music festival camp site, albeit the atmosphere is a little more sullen. All you can see is a sea of blue tarpaulins held crudely together with timber frames. These aren't just the temporary shelters that they are made out to be, but family homes where children are having to grow up in the most formative and influential years of there life. At the camp there are a wide variety of nationalities; Syrian, Afghani, Eritrean, Egyptian, Sudanese. With many more sub groups around the camp holding there own ground and building their own shanty communities.
The whole situation is a complete shambles, I mean this in the nicest way as everyone I met from helpers to refugees where all fantastic, warm hearted people; merely in the wrong place at the wrong time. With the combined efforts of the French and UK governments this situation could be solved within 3 months however no one wants to take responsibility for these poor people. Yes there may be economic migrants at camp, yes some people may want to enter the UK to reap our benefits and live a comfortable life. However this is a small minority and to be able to distinguish between these few people is enormously hard. So what about the children that will grow up with poor sanitation, no formal school system, no place to call home, what happens to the innocent people caught up in the bureaucracy of this whole debacle?
Upon first entering the camp I met up with Soloman (32) who runs the main church in the jungle, I met with him to provide him with some petrol to help heat the church for services in the mornings. He was eternally grateful for the petrol and told me how much of a great help it is people helping with the small things. Solomon is well known in the camp, he welcomes everyone and shakes hands with all the volunteers. This type of hope that he provides for the residents of the camp is essential, a place to vent their hopes and dreams is a real human right something that both the UK and French governments really cannot provide.
Midway through our conversation he was distracted as a van from the UK went past rattling away, I followed to see what was going on and it was the prefabricated frame for a shelter. This shelter was for a young boy named Badil who was merely 16, that fact took a while for it to sink in; what was I doing at 16? It certainly wasn’t building a shelter to keep me warm and off the sodden floor.
It was one English volunteer and Badil assembling the shelter, I offered a hand and ended up staying for 2 hours helping with the building. The work of the CalaisBuild and Build in Calais charities is essential work taking vulnerable people and supplying them with some sort of shelter other than a tent where they cannot even stand. Some people had lived in tents for months at a time, imagine living in a 8ft x 4ft space that is often soaked and damaged, many people end up developing bronchitis or other respiratory problems.
Badil wasn't the only young teen living in this shelter, his friend Noorullah who was 15 would be sharing this space with him and possibly two other people, whether they where of a similar age I couldn't find out. The sheer fact that they are 15 and 16 year old boys was shocking to me, these boys are very much alone.
Around the library otherwise known as ‘Jungle Books’, I got talking to a group of 4 young men that all lived together these men where all from Eritrea, East Africa, and had been travelling for months going through Sudan, Egypt, Libya, Italy and finally France; sounds like a wonderful holiday doesn’t it?
Binyam who hadn’t spoken to his mother in months used my phone to contact her in the UK, although it wasn’t much help he was overwhelmed hearing her voice; something everyone should be able to do fairly easily.
After mulling around the camp and eating at one of the excellent Afghan restaurants, I decided to leave as I was loosing light. Whilst standing around looking rather lost I met a young guy, 21 (he wanted to keep his name private) and Mohammed, 20 who started talking to me asking what I was doing. The young guy, 21 has already lived in the UK for 6 years in London and had a cockney slang to his accent and Mohammed had lived in Coventry for 5 years; both men refused asylum even though they had lived in the UK for so long. I asked the young guy, 21 what his plans where, his answer probably speaks for a lot of refugees at the camp “Why would I want to go to a country that doesn’t want me?”
How can our government let these people rot here that are able bodied and willing to work so very, very hard. There is a lot of talent and aspirations being wasted away in the mud and cold of a small port town a mere 20 miles from our shores.
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Words and Photography by Henry Woodley.
We are pleased to announce that we have added photography to one of the creative mediums that we plan to feature on CreativPaper. There was an overwhelming demand for this from our readers and we thought it was only fair to showcase some of our favourite photographers from the globe.
We kick off this segment with work by Jefferson Pires. This FujiFilm X Photographer has worked with clients such as Vivienne Westwood, The Cambridge Satchel Company and Leica and is currently travelling around Asia. He has been kind enough to allow us to share a series of images called 'Monochromatic'
From architecture to reportage photography and nature, Jefferson's keen eye is clearly visible in his work.