We're through creative a branding and digital agency from Macclesfield near Manchester. We've put together this site to create a source of inspiration, we hope you like it.

100 Leading Ladies

Posted: September 22nd, 2014 | Author: Rachael Steven | Filed under: Books, Photography | Comments Off

Artist Maggi Hambling, awarded a CBE in 2010

Photographer Nancy Honey has compiled portraits of 100 inspirational senior women for a new project which aims to challenge perceptions of age and celebrate lesser-known female role models.

100 Leading Ladies features images of women aged over 55  who have been influential in their field, from fashion to art, medicine, science and politics. As well as Biba founder Barbara Hulanicki, journalist Kirsty Wark and feminist writer Germaine Greer, subjects include Patricia Scotland, the first female attorney general for England and Wales, Daphne Selfe, Britain's oldest supermodel and Averil Mansfield, the UK’s first female professor of surgery.

Each subject was photographed in a place where they go to find inspiration and interviewed about their career by Times journalist Hattie Garlick. Photographs and interviews are compiled in a new book, published by Dewi Lewis, and will be on show at London's Somerset House from October 2-26. Here, Honey explains the idea behind the project and why she hopes it will inspire confidence among young women...

Professor Wendy Dagworthy, OBE, formerly the Royal College of Art's head of fashion

When did you come up with the idea for 100 Leading Ladies?

Towards the end of 2011, after the recession had really started to bite photographers and the revenue stream I’d been used to from commercial work wasn’t really coming in, I went back to my roots to make a personal project about womanhood, as I had made quite a few in the first 15 years of my career.

One of the last big projects I did on this was around 20 years ago, when I interviewed older women about the men in their lives and the values they held: older women and high-flying women had always fascinated me, but then I became so busy with commercial work, and I hadn’t worked out how to go about doing a project about them. As I got older, it all seemed to come together.

Feminist, author and journalist Germaine Greer

How did you decide who to feature?

I wanted to feature influential women who loved their work and have influenced all walks of British life. It started with diverse personal heroines – from Barbara Hulanicki, the founder of Biba, to Shirley Williams [the co-founder of the Social Democratic Party]. I’d been familiar with Barbara Hulanicki’s work since she was an illustrator, and when I heard Shirley Williams speak a few years ago, I couldn’t believe how vast her mind was and how articulate her speech was without any notes.

From there, it evolved organically. I thought these women would be very difficult to get to, as they’re all Google-able and are on lists of the most influential women in Britain, but after I’d photographed 12 or 14, I realised they were all keen to give me their personal contact and suggest further people to photograph. I started asking everyone who they would suggest and was able to find women I never would have heard of otherwise.

A good example of that was Averil Mansfield - if I hadn’t had her name from another doctor, I probably wouldn’t have come across it, yet she is so amazing and influential. It was an absolute delight speaking with her, as she was able to talk about women she had taught and inspired over the years.

Some categories were really difficult to access – such as athletics and show business – but I just kept trying and trying. With Barbara, I had almost given up hope until someone I met later told me they had a personal email address for her.

Professor Praveen Kumar, former president of the British Medical Association and Royal Society of Medicine

Why did you photograph subjects in a place where they go to find inspiration?

It’s always been important to me, in all of my photography, to have some sort of collaboration with my subjects. I was intrigued to see where they would choose, and thought it would say a lot more about their background than doing it in a studio. A lot of the women invited me into their homes – Helen Hamlyn for example, has a beautiful art deco home designed by Eric Mendelsohn and I felt very privileged to be able to see it.

And what were you hoping to convey in these portraits?

I wasn’t sure at the beginning, but as I came to editing and looking through them, I felt a sense of pride was very important. I didn’t want them to look like head and shoulders press pictures. When I told each subject it would take around an hour [to photograph them], they were quite surprised – I think most were used to people coming in and just taking a quick mugshot.

Carmen Callil, founder of Virago Press

You also said the project aims to reflect a period of social change...

Yes - in my life time, the changes that I’ve seen in terms of what girls expect is phenomenal. Girls have a total expectation of a career now. When I was growing up, although it was felt that education was valuable, most girls would have families and stay at home.

What do you hope people will take away from this project?

I originally designed it as a series of role models for younger women but I think it has evolved and become more diverse. It’s great to have the achievements of women outside traditional fields in the foreground.

The interviews are really important, too, because I feel the whole thing is really life affirming and optimistic. I hope it will inspire younger women, anyone with a negative view of feminism, or people wondering how they’ll balance family and work. One of the things that came through from the project is a lack of confidence that we seem to have as women, and each woman had adopted different methods of getting over that lack of confidence.

I also want it to show that getting older is good and that enjoying your job is about more than just work. It is so interconnected with your life and confidence and self esteem, and I think that’s an important message.

Caroline Michel, CEO of literary talent agency Peters Fraser & Dunlop and former MD of Harper Collins' Harper Press

Mary Contini, cookery writer and partner of famous Italian delicatessen and cookery school Valvona & Crolla

We’ve recently covered initiatives such as Getty’s Lean In project which are attempting to challenge cliched representations of women in photography (particularly commercial and stock photography). Do you think the way women are represented is changing?

I think it has slowly been changing – we had the nude photography in the 1950s, the power dressed Joan Collins types in the 1980s and now, it’s multi-tasking women running out of the door. I think the many more diverse roles women play are beginning to be represented in popular culture – one of my favourite examples recently is Always’ Like a Girl campaign [below, shot by Lauren Greenfield].

One of my hobby horses, which I’ve been on for 20-something years, is why aren’t we photographing older women? Real women? But I think that is changing – projects such as Advanced Style [photographer Ari Seth Cohen’s series exploring the style of senior women in New York, which has been made into a book and documentary] make a gigantic difference, and we are beginning to have older women represented in advertising too, in a non-patronising way. When I started working on this project, I was amazed by how fascinating the women I photographed were and the great stories they had, and I hope this celebrates that.

Baroness Haleh Afshar, OBE, a Muslim feminist and life peer in the House of Lords

Caroline Neville, founder and chairwoman of Neville McCarthy Associates


100 Leading Ladies is published by Dewi Lewis Media on October 2 and costs £30. Portraits will be on show at Somerset House in London from October 2-26. For details, see or to view the full list of women featured and a selection of interviews, see 100leadingladies.com


Save the Bees!

Posted: September 19th, 2014 | Author: Antonia Wilson | Filed under: Art, Graphic Design, Illustration, Photography | Comments Off

London beekeepers Barnes & Webb launch their Save the Bees campaign this weekend, with an exhibition of unique bee-themed art created by well-known artists and illustrators.

Recent years have seen a dramatic fall in the Honey Bee population worldwide, in part due to pesticides and reduction in biodiversity. Honey Bees pollinate a vast amount of our food, therefore if the population continues to decline at such a rate, we could be faced with severe agricultural and environmental problems.

Barnes & Webb are developing a series of cultural and educational initiatives to raise awareness of these issues, and as part of the fundraising activity they will be establishing and maintaining bee hives in local communities, providing a free local food source whilst encouraging residents to take part (with the help of a team of retired beekeepers). They will also be campaigning nationally and internationally to change government policies on pesticides, and to encourage biodiversity through improved land management.

Artists involved in the launch exhibition include Jessica Albarn, Sanna Annukka, Luke Best, Jody Barton, Kyle Bean, Rose Blake, Tom Ashton-Booth, Anthony Burrill, Miles Donovan, Stanley Donwood, Adam Frezza & Terri Chiao, Stevie Gee, Robert F Hunter, Hvass & Hannibal, Adrian Johnson, Jean Jullien, Angie Lewin, Katharine McEwen, Chrissie MacDonald, Essy May, Clare Melinsky, Rop Van Mierlo, Edward Carvalho Monaghan, Al Murphy, Pâté, Jitesh Patel, Katie Scott, Matt Sewell, Amy Shelton, Charlie Whinney, Kristjana S Williams & Spencer Wilson.

Work was auctioned off last night to raise money for the campaign, and will be on show at Forge & Co Gallery in London until this Sunday 21st September.

www.barnesandwebb.com

Anthony Burrill

Jean Julilen


Sam Droege (and lead image)

Robert Hunter

 

Jody Barton


Adrian Johnson


Sanna Annukka


Essy May

 

Stevie Gee


Astronomy Photographer of the Year winners 2014

Posted: September 18th, 2014 | Author: Antonia Wilson | Filed under: Photography | Comments Off

From landscape shots across skies alight with swathes of brightly coloured gas and dust, to telescopic images of distant, deep space star clusters, this year's winners for the Astronomy Photographer of the Year Awards present a spectacular selection of cosmic delights.

Now in its sixth year, the competition continues to showcase dazzling images from amateur and professional astrophotographers from around the world that reflect our enduring fascination with the night sky and outer space. The awards also play an important part in maintaining public interest around space exploration and scientific observation.

The winning image from the Earth and Space category, and overall winner (picked from the winners of each category), was Aurora over a Glacier Lagoon by James Woodend, taken in Iceland's Vatnajökull National Park. High energy electrons cause oxygen to emit green light and the arcs of the aurora are shaped by the shifting forces of the Earth's magnetic field. (pictured above)

The runner up in Earth and Space was Matt James' Wind Farm Star Trails, taken in Bungendore, Australia, with the rotation of the Earth turning stars into a streaks of light (pictured above). Moon Balloon by Patrick Cullis was among the highly commended entries for this category; an image of the Earth from 87,000 feet, with the moon in the background, taken with the aid of a high altitude balloon. (pictured below)

Bill Snyder's Horsehead Nebula (IC 434) won the Deep Space category, taken using a PlaneWave 17-inch telescope and a Apogee U16 camera, with a total exposure time through various filters of 13 hours. This cloud of dust and gas is often lost is complete darkness, but is one of the most photographs objects in the night sky. (pictured above)

The runner up in the Deep Space category was David Fitz-Henry's telescopic image The Helix Nebula (NGC7293). It shows a dying star at the centre of a nebula (a cloud of gas and dust in space), and is not too dissimilar to how are own sun will appear at the end of it's evolution. As described during the ceremony, "it is an image of our future". (pictured above)

Highly commended images in this category came from Marco Lorenzi with At the Feet of Orion (NGC 1999), Rogelio Bernal Andreo's California vs Pleiades and Veil Nebula Detail (IC 340) by J P Metsävainio. (All pictured above)

In the Our Solar System category, the winning image came from Alexandra Hart with Ripples in a Pond, taken using a TEC140 refractor telescope and a PGR Grasshopper 3 camera, depicting the Sun's boiling surface. (pictured above)

Runner up in this category was a telescopic photo of the Moon's surface called Best of the Craters by George Tarsoudis. To give a sense of scale, the large central crater has a diameter of 86km (pictured above). The highly commended entries including Tunç Tezel's Diamond and Rubies, depicting a total eclipse, with the Moon blocking the Sun's light, capturing an effect known as the ‘diamond ring'. (pictured below)

The Young Astronomy Photographer of the Year award went to 15 year old twins Shishir & Shashank Dholakia for their telescopic photo The Horsehead Nebula (IC434) (pictured above), with another one of their images being highly commended, depicting the The Heart Nebula (IC1805) which sits 7500 light years away from Earth. (pictured below)

Also among the highly commended images was Moon Behind the Trees by 12 year old Emily Jeremy (pictured above).

Special prizes included People and Space, won by Eugen Kamenew with Hybrid Solar Eclipse 2, taken at sunrise in northern Kenya (pictured above); with Julie Fletcher's Lost Souls as runner up, shot with a 20 second exposure at Lake Eyre in remote South Australia, showing the dust of our solar system lit up by the Sun. (pictured below)

Robotic Scope Image of the Year went to Mark Hanson with NGC 3718, a deep space image of a galaxy 52 million light years from Earth, taken using one of the increasing number of computer-controlled telescopes at prime observing sites around the world which can be accessed over the internet by members of the public. (pictured above)

The Sir Patrick Moore prize for Best Newcomer went to Chris Murphy with Coastal Stairways, taken in the Wairarapa district of New Zealand. (pictured above)


To see the full selection of winners, runners up and highly commended images visit www.rmg.co.uk/royal-observatory A free exhibition of the works will be on at the Royal Observatory Greenwich until 22 February 2015, (be sure to catch one of the spectacular shows in their Planetarium when you are there), and a book has also been produced with Collins including all shortlisted and winning works.


Leica M Edition 60

Posted: September 18th, 2014 | Author: Antonio Carusone | Filed under: camera, Industrial Design, Leica, limited, Photography, rangefinder | Comments Off

Anyone have $20,000 to drop on this Leica?

To celebrate of the 60th anniversary of M camera, Leica produced the limited edition Leica M Edition 60. The kit includes a Leica M-P digital camera and the Summilux-M 35 mm f/1.4 ASPH. lens, both created by Audi Design.

This is more of a collectors item than anything, but it’s amazing to see the amount of detail that went into it, even down to the packaging and presentation.


The CR Photography Annual 2014 deadline is today!

Posted: September 18th, 2014 | Author: Creative Review | Filed under: Photography | Comments Off

Today is your final opportunity to enter the Creative Review Photography Annual 2014, with the chance to showcase your best photographic work from the last year and benefit from more exposure than ever before. Entries close at midnight!

The entry showcase is now live! It's not too late to join them and present your work online, which will then be promoted to a vast creative community across www.creativereview.co.uk (of 200,000) and our social media channels (of over 1 million people).

gallery showcase will also be taking place for the first time, from 12th-13th November, with a selection of work chosen to be displayed in front of over 4000 marketing and creative professionals at the Festival of Marketing 2014.

Plus, the beautiful CR Photography annual double issue will be out in December, in print and for iPad, showcasing your work in front of a core audience of creative studios and art directors.

Entry only costs £60 and will position you as a creative leader in your field so submit your best work from the past year before midnight tonight and ensure you are in the running to appear in the CR Photography Annual 2014.

Don't forget, this year we are introducing categories to celebrate not just the photographers themselves, but also the art directors and commissioners of photography, including ad agencies, magazines, publishers, stock libraries and fashion brands, with the winning work shown in context of their layouts, pages, covers, and so on.

We are also introducing a category to celebrate the best images commissioned by image libraries to help set standards in this important creative sector. Details of all the categories here.

We are also pleased to announced this year's judges who include: Jessica Crombie, head of visual creative at Save the Children; Sarah Douglas, creative director at Wallpaper*; Gemma Fletcher, senior art director at Getty Images; Sarah Thomson, head of art production at Fallon London; Daniel Moorey, head of print at Adam&EveDDB; and Alan Wilson Senior Art Director and AMV.BBDO

Email here for an specific queries regarding the Photography Annual 2014.

 

Don't miss out, enter today!


hClub 100 list seeks your votes

Posted: September 12th, 2014 | Author: Creative Review | Filed under: Advertising, Art, Digital, Graphic Design, Photography | Comments Off

The public vote for this year's Hospital Club hClub100 awards is now open: vote for those who you think are among the most influential and innovative people working across Britain’s creative industries in the past 12 months

London private members' club The Hospital organises the hClub 100 each year in order to try to identify influential and innovative people working across categories including broadcast, fashion, music and advertising. CR editor Patrick Burgoyne was on the panel for the art and design category this year alongside Nancy Durrant, arts commissioning editor and an art critic at The Times and Victoria Siddall, director of Frieze Masters.

As with the other categories, the judges were tasked with selecting a shortlist from some 1000 nominations submitted by the public earlier this year. Each panel chose nine award winners. A 10th place in each category will be selected by a public vote which runs until September 24.

The Art & Design shortlist includes design studio UVA, Carl Burgess of More Soon (who wrote about CG for CR's August issue, photographer Laura Pannack, Universal Everything's Matt Pyke, Tom Evans of BleepBleeps and illustrator Kristjana S Williams.

Nominees for advertising (which CR was not involved in) include Grey ECD Nils Leonard, Nick Farnhill of Poke and directors Ringan Ledwidge and Tom Tagholm.

See the full list here

All 100 finalists will be announced at an exclusive hClub100 awards ceremony taking place in the Hospital Club Studio for the first time on the 8th October 2014,


Port issue 15: Q&A with Kuchar Swara

Posted: September 12th, 2014 | Author: Rachael Steven | Filed under: Graphic Design, Magazine / Newspaper, Photography, Type / Typography | Comments Off

Port magazine has just launched its 15th issue, which features a striking series of portraits of composer Esa-Pekka Salonen shot by Pieter Hugo, and photo features on New York cricket, sea bass fishing and SCP owner Sheridan Coakley's Hampshire home. We spoke to creative director Kuchar Swara about the issue, and some of his favourite Port features to date...

Port was founded in 2011 by Swara, Dan Crowe and Matt Willey, who created the magazine's bespoke typeface. As Swara and Crowe explained to CR at the launch of issue one (interview here), the title was founded with the aim of providing a broader and more in-depth range of content than mainstream men's magazines. Each issue combines photographic essays, long-form articles and features spanning film, design, architecture, business, food and literature. Past cover stars include Ralph Lauren and actor Chiwetel Ejiofor.

Here, Swara discusses the new issue, talks about some of his favourites to date and explains how the magazine has evolved since its launch.

Composer Esa-Pekka Salonen photographed by Pieter Hugo. Feature by Timothy Mangan. Styling by Patrik Milani

 

CR: The cover image and portraits of Esa-Pekka Salonen are really striking. Why did you commission Pieter for this feature? And what were you looking to convey in the images?

Kuchar Swara: The choice of Pieter Hugo was initially pitched by our new photographic director, Rebecca McClelland, who knows Pieter well.

Like so many others, I've been a big fan of Pieter's work for a long time so we were delighted when he agreed to shoot for us. I wanted the cover to be his artwork: Pieter Hugo the artist shooting Esa-Pekka Salonen.

Pieter's series of portraits, There's a Place in Hell for Me and My Friends, is a brilliant personal project both technically and artistically [Hugo's photographic process is explained here] and it felt like a great fit with Esa-Pekka Salonen and the revolutionary sound he has brought to music. It was the meeting of two brilliant artists from different fields.

 

CR: And what else can readers expect in issue 15?

KS: For me, it's the team and our contributors really showing their stuff – the latest issue might be our best so far, I look forward to hearing what the readers think.

The New York Cricket story is the work of Alex Vadukul and Benjamin Norman turning NYC upside down, revealing a side to the city that not many people really know about. Also in the issue is the house [a 1970s building in Hampshire] of SCP owner and champion of British design Sheridan Coakley, shot by Robin Broadbent.

Photography by Benjamin Norman. Feature by Alex Vadukul

Photography by Tobias Harvey. Feature by Ali Morris

 

CR: You've featured some fantastic imagery in past issues of Port – how would you describe your approach to photography, and the kind of work you like to feature?

KS: I don't think we champion just one style of imagery – I would say it's more our subject matter and approach; for example, our still life images feature typically one object; our interiors images are usually shot on 5 x 4 using only natural light. We use no colour in our typography – which allows anything with colour, i.e illustration or photography, to have presence on page.

We tend to use words like 'iconic' and 'bold' a lot in our briefs. ­ I guess that might have something to do with it. We are very fortunate to be working with a mixture of photographers from different generations who all posses a similar outlook on what it means to produce a quality image.

Shadow Play shoot by Robin Broadbent. Styling by Alyn Griffiths

The Man of the Crowd shoot by Kate Jackling. Styling by Alex Petsetkis. Set design by Gemma Tickle

 

CR: How would you say the magazine has evolved since the first issue, both stylistically and in terms of content?

KS: I think initially when we started Port we had an idea of what we wanted. Issue on issue, I feel we are getting closer to achieving those goals we set for ourselves.

Whilst I'm proud of what we achieved in the early years, I feel we have all matured and learnt a great deal from experiments and ideas that worked and those that didn't and naturally this has informed where we are today.

I would say the magazine is now more Port than it's ever been; from the investigative articles and long-form journalism, to the photographic quality and printing.

 

CR: One of the most notable changes throughout issues has been the section openers. Why have you continued to develop them?

KS: I am quite interested in this area of graphic design, it's one of the fundamental editorial/typographic gestures that gives a magazines its identity.

 

We first experimented with single page openers, which I enjoyed playing with. It's not something I was used to seeing – usually, it's a [double page spread] opener.

We then decided to play with something more expressive in the double page spread format; type only, blown up to the biggest size possible with forced returns, and in the latest issue the introduction of images and grid lines borrowing from newspaper language.

 

CR: When we interviewed you back in 2011, you said independent print mags are in a really strong position. Do you still think this is the case, and were you anticipating the success Port has had?

KS: The number of independent magazines is growing, be it to support other business interests, cultural expression, for pleasure (or pain however you decide to look at it). They are still in a strong position to challenge the status quo, whichever sector that happens to be in.

I don't think any of us expected Port to reach issue 15. I was nervous when we bought barcodes for eight issues when we were working on our first issue. I calculated how old I would be, and how much work that meant; I think we went for a beer to calm us down.

 

CR: And, finally, what have been some of your favourite issues or features?

1. The retail special [from issue 12, spreads shown below] was an investigation into the state of retail and how it works and how it's changing; from the quarry that supplies the marble to the boutiques, to the shop floor that sells goods, to the business brains that run them.

 

Investigations like this, and our Architecture and Design Survey in issue 13, are great ways for independent magazines to prove that it's not just about nice images and lush pages, but also a return to good honest journalism. Informing as well as entertaining.

 

I am particularly fond of this feature as I think you'd be hard pushed to find a more expansive investigation into how retail works, from Tuscan quarries to shop floors in Tokyo, to design studios in London developing the next generation of retail displays – we really went for it.

2. The chateaux of Toulouse Lautrec shot by the brilliant Tobias Harvey and written by Huw Griffith (issue 13, below). I think our interior's editors Tobias and Huw worked for a year and a half on securing the shoot and for me it's a brilliant example of medium format photography. I tried to leave no white space, using every image that Tobias shot.

 

 

3. Afghanistan (issue 12) remains one of the most incredible photo essays I've seen, shot by Frédéric Lagrange (below). I am originally Kurdish-Iranian and before I came to London I grew up in the mountains. Frederic's images really took me back to that time, and I wanted to give it a real sense of location and context.

It was quite a coup for us to get that feature, as I know other big magazines were in contention also.

 

 

 

Issue 15 of Port is on sale now and priced at £6. To order a copy, visit port-magazine.com.


CR Photography Annual 2014 final deadline – Thu 18 Sept

Posted: September 12th, 2014 | Author: Creative Review | Filed under: Photography | Comments Off

We're announcing one final week to submit entries into the CR Photography Annual 2014. It's the very last chance to enter your work! You have until Thursday 18th September to enter your work, with the chance to showcase your best photographic work from the last year and benefit from more exposure than ever before.

 

The entry showcase is now live! It's not too late to join them and present your work online, which will then be promoted to a vast creative community across www.creativereview.co.uk (of 200,000) and our social media channels (of over 1 million people).

A gallery showcase will also be taking place for the first time, from 12th-13th November, with a selection of work chosen to be displayed in front of over 4000 marketing and creative professionals at the Festival of Marketing 2014.

Plus, the beautiful CR Photography annual double issue will be out in December, in print and for iPad, showcasing your work in front of a core audience of creative studios and art directors.

Entry only costs £60 and will position you as a creative leader in your field so submit your best work from the past year before midnight on Thursday 18th September and ensure you are in the running to appear in the CR Photography Annual 2014.

Don't forget, this year we are introducing categories to celebrate not just the photographers themselves, but also the art directors and commissioners of photography, including ad agencies, magazines, publishers, stock libraries and fashion brands, with the winning work shown in context of their layouts, pages, covers, and so on.

We are also introducing a category to celebrate the best images commissioned by image libraries to help set standards in this important creative sector. Details of all the categories here.

We are also pleased to announced this year's judges who include: Jessica Crombie, head of visual creative at Save the Children; Sarah Douglas, creative director at Wallpaper*; Gemma Fletcher, senior art director at Getty Images; Sarah Thomson, head of art production at Fallon London; Daniel Moorey, head of print at Adam&EveDDB; and Alan Wilson Senior Art Director and AMV.BBDO

Email here for an specific queries regarding the Photography Annual 2014.

 

Don't miss out, enter today!

 

 


What makes a great image? CR’s Photo Annual judge Gemma Fletcher shares her favourite work

Posted: September 9th, 2014 | Author: Creative Review | Filed under: Advertising, Photography | Comments Off

From 'The Virtue of Wrestling' series by Nick Ballon, art directed by Gemma Fletcher

The entry deadline to CR's Photography Annual is coming up this Thursday: to help inspire you to enter this year, we've asked our judges about what they think makes a great image. Here, Gemma Fletcher, senior art director at Getty Images, talks about her favourite recent images and which photographers she thinks are making outstanding work right now...

We're introducing some important changes to this year's Photography Annual – we want to celebrate not just the work of photographers themselves but also those who commission and art direct great images, whether in advertising, magazines online or via an image library. As well as adding categories for the best use of photography in advertising and marketing campaigns, by fashion brands and in editorial, we're introducing one to celebrate the best work commissioned by photo libraries.

This year's judges are Sarah Douglas, creative director at Wallpaper*; Daniel Moorey, head of print at Adam&EveDDB; Sarah Thomson, head of art production at Fallon London; Gemma Fletcher, senior art director at Getty Images; Alan Wilson, art director at AMV BBDO; and Save the Children's Jess Crombie. You can read our recent interviews with Crombie, Wilson and Thomson by clicking on their names. Below, Fletcher responds to our questions:

Priozersk X (House of Culture), Kazakhstan, 2011 (from Nadav Kander's series Dust)

What image, or series of images, has impressed you most in the past 12 months, and why?

I saw Nadav Kander’s Dust project (above and below) as part of the Prix Pictet retrospective and the images left me feeling very emotionally charged. The project covers his investigation into two 'closed' cities on the border between Kazakhstan and Russia. Both desolated, restricted military zones where hundreds of atomic bombs were detonated in populated areas so covert studies could be made into the effects of the radiation on the unsuspecting inhabitants.

The paradox is what keeps me coming back to this series. The scars of the truly dark side of mankind laid bare, but portrayed with such captivating beauty, challenging the viewer to rethink our code of aesthetics.

I left the show haunted by Nadav’s quote that frames the exhibition. It shares how the ticking of the Geiger counter on his belt while he photographed reminded him that he should not become too enthralled with the aesthetic and painterly allure of the crumbling ruins.

Kurchatov IV (Telephone Exchange), Kazakhstan, 2011 (from Nadav Kander's series Dust)

The Polygon Nuclear Test Site VI, Kazakhstan, 2011 (from Nadav Kander's series Dust)

What, to you, makes a great image?

There are so many elements that contribute towards making a truly great image, but in a culture where imagery is in abundance, ultimately a great image is one you want to revisit over and over again.

What photographers do you think are doing really great work right now?

I think there are a lot of people making fantastic work right now: Taryn Simon, Viviane Sassen, Katy Grannan, Jean Yves Lemoigne. Alex Prager, and Thomas Brown. There is also some incredible emerging talent making great work. Nick Ballon’s exploration of Bolivian heritage is always intriguing, his project Ezekiel 36:36 is a tragic and beautiful series. Ryan Hopkinson’s unique blend of art, science and tech in his cinematic portfolio is really impressive. Sarker Protick, Alma Haser, Kate Peters, David Ryle, Owen Silverwood, Felicity McCabe, Charlie Engman are all making exciting work.

Both images from Nick Ballon's Ezekiel 36:36 series

And what organisations do you think are making great use of photography at the moment?

Port magazine continue to commission and showcase great photography with a unique point of view, as do The Gentlewoman, Viewpoint and Riposte magazine.

Commercially, Nike’s ability to consistently evolve and build variety across their different campaigns has always impressed me. They balance powerful conceptual ideas next to accessible lifestyle with ease. The new BMW 4 series campaign shot by Owen Silverwood turns car photography on its head and Lurpack also do a great job injecting a sense of play and personality into their product through their dynamic use of imagery.

Cover and spread from Riposte magazine

BMW 4 series by Owen Silverwood

Lurpak posters, shot by Ryan Hopkinson

The final deadline for entries to this year’s Photography Annual is September 18th. For details on how to submit your work, or for more info about the Annual, click here.


Left and right combine for the Social Economy Alliance

Posted: September 8th, 2014 | Author: Mark Sinclair | Filed under: Advertising, Graphic Design, Illustration, Photography | Comments Off

Paul Belford Ltd. has created a new campaign for the Social Economy Alliance, a network of organisations working to create a more social economy in the UK. Blending images of prominent political figures, a series of posters calls for politicians to ditch traditional left-right notions of putting business against society...

A lead partner in the Alliance is Social Enterprise UK, the body established to support the UK's social enterprise movement. SEUK believes that cooperatives and social businesses hold many of the solutions to the UK's most significant economic and social challenges – the aim of the newly-formed Alliance is to affect the way all political parties formulate social and economic policies in advance of the 2015 general election.

Aimed at MPs and Westminster opinion formers, the new campaign combines images of well know faces from the left and right of the political spectrum; the idea being that the SEA 2015 manifesto – which it hopes will be incorporated into the manifestos of the UK's major political parties – reflects "The best ideas from the left & the right".

"The number of social businesses is growing," says Paul Belford. "At the same time, there is increasing anger among consumers at the tax avoidance schemes of the corporate giants. Given a choice, consumers are increasingly using their spending power to help build a better world.

"This campaign is part of a move to call on all the main political parties to support the social economy by building the recommendations of the Alliance into their manifestos. So the ads have to get noticed by politicians. The social economy has supporters from both the left and the right of the political spectrum. And that fact lead us to the insight that SEA's recommendations contain good ideas from both the left and the right."

The SEA, which is made up of organisations including enterprises, co-operatives, housing associations and social investors, says that "twentieth-century economic thinking in Britain has left business and society pitted against each other. Meanwhile, citizens and communities are getting on with creating solutions to tackle their social and economic problems together.

"Across the UK, more people than ever before are starting up social enterprises and buying from co-operatives. Social enterprises now have three times the start-up rate of traditional businesses, and account for 15% of all small and medium-sized enterprises. The number of co-operatives has increased by more than a quarter since 2009 with a combined turnover of £37 billion last year."

There are five iterations in the new campaign, which runs online and as posters on the London Underground – Che Guevara is combined with Margaret Thatcher; Karl Marx with Boris Johnson; Mikhail Gorbachev with Winston Churchill; Fidel Castro with Ronald Reagan; and John Prescott with Angela Merkel.

Ads have also been created for the ticket gates at Westminster tube station. A political figure from the left, on the left-hand gate and a figure from the right on the right-hand gate. Here, Michael Foot is combined with Michael Gove, while Chuka Umunna appears with William Hague.

"When choosing subjects for the campaign, care was taken to match political figures with similar physical attributes," says Belford. "For example, Gorbachev's and Churchill's bald head, Boris Johnson's and Karl Marx's somewhat shaggy appearance, John Prescott's and Angela Merkel's jowls etc. This allowed the combined images to be kind of weird double takes, making the viewer think a bit more."

Agency: Paul Belford Ltd. Art Director: Paul Belford. Copywriters: Paul Belford, Dean Webb. More on the Social Economy Alliance at socialenterprise.org.uk – its manifesto is available here (PDF). See paulbelford.com