The British Journal of Photography and Conceptual Art

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!