The British Journal of
Photography (BJP) appears to be by far the most widely read journal of practitioners
of photographic art, OCA tutors and, indeed, OCA students in the UK. Having
purchased the odd copy in 2013 and the first half of 2014 I finally decided to take
the plunge and take out a year’s subscription in July 2014 (kindly paid for by
my partner, as a birthday present). In this article I will give some early
personal impressions of the magazine and
its content.
The magazine is aimed fairly and
squarely at those who have a strong interest in and/or make a living from
photographic art. Following the editorial comment, news and some notes on
current or forthcoming exhibitions that would be of interest to its readership
the magazine gives space to selected projects by (often) young, perhaps unknown
photographers, allowing them to explain their work. The bulk of the magazine then involves more
detailed, lavishly illustrated articles about established photographers, usually
featuring their new projects in exhibition and/or book form. This work has an
international flavour, includes articles about photographic “collectives” and
looks retrospectively on occasion, as well as crystal ball gazing into the future. The features
often tie in with current exhibitions, in the UK or in Europe. Finally there is
a short review section on new technology, with a few adverts right at the back.
There is a strong emphasis on
portraiture (human, of course: wildlife doesn’t get a look in in this magazine)
and social documentary in the BJP. Indeed, the November 2014 issue had a
“contemporary portraiture” theme throughout and the two most recent issues (November
2014 and December 2014 / January 2015) have both featured portraits on their
covers. Other “trending” areas have included photobooks and photographs taken
from drones. In many ways the BJP reminds me of the music magazines (Melody
Maker, NME) that I used to read in the early 1970s: latching on to fresh and
exciting new ideas and talent (in musical terms, the artists’ first album), building
the artists up then following their progress with interest (that “difficult” second
album), but losing interest (or knocking them down, in the case of the music
press) if the artists’ creativity lapses or they go “mainstream”. To be fair,
the BJP does not review or pass judgement on the artists’ work as such, but
simply sponsors their work by giving them space. However, it can pick and
choose (we assume!) whose art to feature and whose art is not creative or
original enough for the magazine. Damning reviews are not evident, although there were harsh
words in the editorial of the November issue for the lack of originality of
some of the work selected for display at the Taylor Wessing Portrait Prize
exhibition (with which I concur: see my own exhibition review).
The work featured in the BJP is
very strongly concept driven, featuring portfolios rather than individual images
(the exception being images taken by photographers in themed exhibitions, where
work by different photographers relates to the same subject, place and/or
period of time). I found it useful to study the concepts behind the projects.
Many related to the personal interests (often socio-documentary) of the
photographers, although a few were born of chance discoveries whilst working on
an entirely different project. Since my own personal projects reflect these two
sources of inspiration I was encouraged in the belief that my photographic
output, whilst markedly different to that of the featured photographers, was
driving me in the right direction.
Looking at the featured images
gave me more of a problem. Some, such as Mayumi Hosokura’s individual images of
nudes and neon-lit streets (BJP October 2014; pp20-21) are very attractive in
their own right but don’t seem to work well together as a portfolio, whereas Travis
Hodges’ portraits of “self-trackers” (BJP November 2014; pp18-19) are quite clearly
linked and related to a common theme, but appear to be rather bland and
uninspiring. Furthermore (and this is a problem that is very relevant to my own
work), each of Hodges’ images needs text to explain its significance. Only
rarely (such as in Otto Snoek’s photographs of the differences and similarities
between the citizens of the European Nations: BJP November 2014; pp14-15) does
a photographic Portfolio provide what, to my eyes at least, are interesting,
appealing yet clearly linked images, even in the absence of text. Nevertheless,
studying the project portfolios has given me a valuable insight into how to
turn a concept into a project and subsequently into a portfolio of images.
Whilst the project work was most
relevant to my own output the most interesting features were the
retrospectives, such as Tom Seymour’s November 2014 report on the work of Danny
Lyon, a New Yorker who captured some of the defining images of the 1960s Civil
Rights Movement (based on Lyons’ recent memoirs, published as a book) or
Seymour’s October 2014 look at the photographs of the paparazzi who recorded the glamour, politics and terror of Italy in
the 1970s (featured as an exhibition at the 2014 Brighton Photo Biennial).
Somehow, the technology reviews
at the back of the BJP seem out of context with the rest of the magazine;
almost an anachronism. Are they a residue from the days before photography
became recognized as an art form, when perhaps BJP occupied a niche not quite
so distantly removed from magazines such as “Professional Photographer”? How
many readers find the reviews to be of use? Not many, I suspect. Nowadays it is
possible to buy bulky magazines completely dedicated to reviewing and comparing
camera hardware, whilst BJP is extremely selective, sometimes reviewing just one
piece of equipment in a given issue. Having said that, I did find the review of
Nikon’s D810 full-frame DSLR of value: the positive review has, along with
others, elevated this camera to the top of my list of hardware to buy……..when
funds allow!
In summary, the BJP provides me
with a useful glimpse into the world of conceptual photographic art and its
practitioners. Whereas I must admit that many of the featured images and
portfolios of images have, at best, limited aesthetic appeal to me the work on
display is of value in providing an insight into how to develop a photographic
idea, from its inception to the finished article. Furthermore, I am enjoying
reading some of the historical features in the magazine. I will renew my
subscription in 2015, even though I’ll have to pay for it myself!
