British Journal of Photography’s first issue of 2022 is themed Home. Over the last couple of years, the idea of home has taken on new meaning for many of us. For photographers, it is the inspiration or the backdrop of new projects, where personal and intimate parts of their life have been candidly shared. The Eye Mama platform, for example, created a space for photographer mothers to visually converse and share the complex experience of motherhood under lockdown.
Reflecting on his retrospective at the Arnolfini earlier this year, Stephen Gill has spent a lifetime drawing inspiration from the curiosities he has found on his doorstep. Ahead of the US elections in 2020, Teju Cole found himself ruminating on the construct of an image, composing haphazard still lifes in his kitchen and documenting the process. Mimi Plumb has created a personal monograph about her hometown. She weaves an ominous and disconcerting narrative on the darker side of San Francisco in the 1980s – a dialogue she feels is still relevant today. And Alba Zari pieces together the fraught storyline of her family’s escape from a cult. Our other features include the work of Campbell Addy, Anders Edström and thoughts on home as a state of mind.
In Intelligence, Diane Smyth considers the relationship between photography and capitalism, and how it has been increasingly interrogated by photographers since the 2008 financial crash. Plus we are in the studio with Marton Perlaki. Elsewhere, we explore the photo community of Lisbon, and have a special feature on Kyotographie festival, which celebrates its 10th edition.
178 pgs, 28 × 21 cm, Softover, 2022,