By David Walker


“New York City, 1963,” by Joel Meyerowitz. From 1962 to 1965, Meyerowitz and Garry Winogrand “pounded the streets every day” with their cameras cocked and ready, looking for the “fragment of perception that stimulated our consciousness,” Meyerowitz recalls.

When we asked photographers to define “street photography,” they cited the work of several photographers as examples: Helen Levitt, Eugène Atget, Diane Arbus and William Klein, among others. But the photographer most frequently mentioned is Garry Winogrand (1928-1984). To photographers who knew Winogrand personally and those who know him only through his incongruous, witty work, he epitomizes the genre. Photographer...


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INTERVIEW // Photographer Yukio Uchida


Over the last few years, Fujifilm has invited professional photographers from around the world to meet with the product planning and R&D teams to discuss current and future products. Names you may or may not have heard of such as Zack Arias, David Hobby, Bert Stephani, Kevin Mullins, Gianluca Colla, Tomasz Lazar, Damien Lovegrove, Knut Koivisto, Chris Weston and more have all given their feedback and input into the “kai-zen” development mentality of the Fujifilm X system.

However, this process has actually been going on for longer than that.

Earlier in the year I was lucky enough to meet with Yukio Uchida, a famous professional photographer from Japan who had been speaking about Fujifilm cameras at the CP+ show in Yokohama. Yukio was one of the world’s first “X-Photographers”; his feedback has been instrumental in the development of the Fujifilm X system. I was able to get 10 minutes of his time to ask him a few questions about his involvement with Fujifilm R&D, and also his own photographic style.

MH: Thank you for taking some time meet me and talk about you and your photography.
Is this your first time presenting at CP+?

YU: No, this is my fourth year. Every year it gets better than previous. Four years ago very few people used X series but over time the amount of users has increased, and also the amount of people that come to watch me speak has increased.


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INTERVIEW // Photographer Paul Struijk by Pete Littlewood

Paul Struijk explores the facial architecture of the Dutch capital with his Leica M10

Amsterdam is one of the most culturally diverse cities you will find anywhere on the planet. It was among the most important ports in the world during the Dutch Golden Age of the 17th Century and ever since then immigrants from all over the globe have come to call Amsterdam their home. Amsterdamer, Paul Struijk, set out with his LeicaM10 to document the facial archetypes of the city’s residents and, in doing so, captured the diverse yet kindred nature of humanity in all its forms.

You studied an array of subjects from biology to archaeology and even classical dance. What was it that drew you to photography?

It was the creativity of the work. I needed to create things from the inside out and have the freedom to choose what I do. I also wanted to encounter new worlds, new people and new ideas.

How would you describe your photographic style?

My aim is to document. I try to find authentic images with a mix of old school and modern approaches. I like real life. I love people and how they try to make the best of it. I am absolutely a color person but over the last 2 years with my Leica, my photography has become more and more monochrome but always with a little shade of color, a little hint of a tone.


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Interview // Photographer Mahtab Hussain

Interview by Nina Manandhar 

Nine years in the making, Mahtab Hussain‘s latest exhibition ‘You Get Me?’ is both a testimony to the amount of time required to create a body of work of this breadth but also to his own artistic commitment to a line of enquiry. What began as series of chance encounters on the streets of his hometown of Birmingham in 2008 evolved into a journey across the UK on a mission to create a fuller picture of what it means to be a British muslim working class man today.

Hussain sees his work as firmly rooted in a tradition of British portraiture, citing his time working at the National Portrait Gallery and his MA at Goldsmiths in Art History where he specialised in Post Colonial studies as equally influential in shaping his understanding of transformative possibilities in art, but also enabling him to experience first hand the lack of work reflecting the British – Asian experience. Seen together, they explain his drive to pursue projects which create a place for his subjects in visual history, to fill a gap where representation is either missing or a product of misinformation.

With his subjects now immortalised in an upcoming book published by Mack alongside the exhibition this May at Autograph ABP, his term long-term engagement with the community and empathy with his sitters has clearly paid off, ‘I don’t think work can be made any other way, it is about getting to know one another, sharing stories’ he tells me. Ahead of the show, we spoke to Hussain about the enduring power of fine art portraiture, masculinity in the 21st Century and the complex relationship between identity, heritage and displacement, themes which his work navigates.

The release for the exhibition describes the portraits as exploring the identity of young ‘Working class’ – rather than just ‘Asian’ men. Can you talk a little about the idea of ‘class’, ‘working class’ and why it’s an important factor in the work?

I believe class plays a critical role in understanding the work. In general, the working class communities of Britain have had to go through real change, essentially from the 80’s onwards which itself was an incredibly destructive time for British society as a whole. Margaret Thatcher and her government purposely broke down community and fostered the idea that there is no such thing as society, livelihoods were destroyed and the unions were dismantled. We were told we should embrace the individual in Britain and the self-made man and woman, which was in direct conflict with the working class concept of community, sisterhood, brotherhood and family. From a migrant perspective, this notion of individualism crushed one of the defining pillars of their culture too, one that advocated for a strong, supportive, collective society, so this era jarred with them considerably as they eventually experienced the same loss of community and society, alongside harbouring feelings of alienation.


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INTERVIEW // Photographer Junya Suzuki

Junya Suzuki, born in Japan in 1979, began taking photographs in 2009. He is a street photographer based in Kanagawa and Tokyo, Japan. His interest focuses how picture elements connect at the same place at the same time. The faces may have turned to the same direction, or may have turned in a different direction. However, the connections in their emotions fill the space as an attractive photograph. He continues shooting to pursue the goal to document real facts of everyday life, adding his own expression of surrealism, lyrics, and humor.


You talk about connection and seeing how in everyday life, everyone and everything in existence is connected. How do you like to convey these thoughts in your work?

We can find this connection in a visual way, like the same color and shape in things or subjects, this is quite interesting. I like to explore and share the connection of the feelings from the inside of a particular subject. I think that it is difficult for one photo to tell a deep and meaningful story. This is why this project consists of more than one single image. I believe the viewer, by seeing all of the images as a whole, will remember it well.

You reference Shin Noguchi’s work, whose work has also been featured on the Leica Blog, do you have other influences which have led you to your current photographic style?

I like the works of Martin Parr and Joel Sternfeld. As you know, their work is recognized all over the world. But I have received a more compelling influence from my friend. So I’d like to introduce as well a very talented photographer Mankichi Shinshi. He is also Leica M (Typ 240) user. His work have a sense of humor which is often created by the clever framing as well as the power of the subject. He and I won a Japanese competition by Einstein Studio. A magazine (JP_EN Issue.4) will be published at New York Art Book Fair and Tokyo Art Book Fair in September.



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n May 2015, Dutch photographer Robin de Puy set out to create a new body of personal work on the open roads of America. Travelling alone on a Harley Davidson, de Puy clocked over 10,000 kilometres; going through countless towns and cities in the American Midwest, she put everyday people, unaccustomed to the spotlight, in front of her camera. In this interview, she talks about the ‘urge’ of wanting to photograph somebody, what makes a good portrait, and how it’s not a bad thing to let your guard down.

The American Road Trip has been done by a lot of artists and photographers. Why did you choose to drive through America, and not through Europe, for example?

I felt that America was the best place to do this kind of trip for the first time, because it’s far enough that I can’t just be back home in a few hours, but it’s not completely unknown to me. I’m also fascinated by countries in Asia and Africa, but to me that seemed as too big of a leap to make - especially as a woman that was travelling alone. I knew that, in the beginning, it would be really difficult for me to actually go out and photograph, and I didn’t want to make it easy to give up and return back home with nothing. So, in a way, it was kind of like I gave myself a challenge, as well as an extra push to go and do something.


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INTERVIEW // On the edge: how Alexander Gronsky explores the limits of photography

by Liza Premiyak

Pashvino V, Suburbs of Moscow, Russia (2012) from the series Pastoral by Alexander Gronsky

Landscape photographer Alexander Gronsky was born in Estonia in 1980 and is now based in Latvia, but has spent a large part of his career living and working in Russia. For four years, Gronsky captured the outskirts of Moscow, where the city meets the wild, and where many Muscovites go swimming, sunbathing or camping. He has also travelled to Norilsk, documenting its industrial wastelands, and further afield to China.

Gronsky is a self-taught photographer and shoots on film. Two of his projects, Pastoral and Reconstruction, are currently on display at The Wapping Project Bankside in London until 29 May. One of the pleasures of seeing his series side by side is that you can trace his development as an artist. But there are similarities between the two in that they were both shot in the suburbs. Whether its Russian edgelands or riverbanks in China, the edge is a recurring theme in his work (and the title of one of his earliest projects). As he expands the scope of his practice, The Calvert Journal caught up with him about his evolving career.

Reconstruction, a recent series on historic battle re-enactments, includes figures such as performers and viewers. Is this a move away from traditional landscape photography as seen in Pastoral?

For me [Pastoral] wasn’t about landscape photography. It was more that the landscapes I had encountered I wanted to execute in a very academic way. I don’t think I ever wanted to put myself in as precise a framework as landscape photography. I’m still referenced as an Estonian photographer even though I haven’t lived in Estonia for 20 years! My process is very intuitive: I’m interested in the photographic image in general, and it’s important for me to question its forms. For Reconstruction I was interested in historical panoramas. There are museums where you can see a panorama of a particular battle presented as a 360-degree landscape with objects in the foreground. I was trying to achieve this totality of landscape.