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British Journal of Photography | Photography Journal | 1854 Media

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British Journal of Photography | Photography Journal | 1854 Media

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The British Journal of Photography has been providing the latest photography news and features since 1854. View the latest features and back issues here.

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locale en_GB
type website
title British Journal of Photography | Photography Journal | 1854 Media
description The British Journal of Photography has been providing the latest photography news and features since 1854. View the latest features and back issues here.
url https://www.1854.photography/
site_name 1854 Photography
image https://www.1854.photography/wp-content/uploads/1854-featured-journal.jpg
image:width 1200
image:height 627
image:type image/jpeg

Rubriker

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  • [H1] Power and fragility in the Leipzig Photobook Festival
  • [H1] On the Cusp: Announcing the winners of Female in Focus 2025
  • [H1] Kalpesh Lathigra’s The Lives We Dream in Passing
  • [H1] The first exhibition in Italy to focus on the HIV-Aids crisis
  • [H1] Documenting the overlooked legacy of debutante balls for Black American youth
  • [H1] The Metropolitan Museum receives a grand gift of global photography
  • [H1] Unmapping the image: Elsa Leydier distorts photography’s authority
  • [H1] Through the gates of hell and heaven: Dean Majd’s New York odyssey
  • [H1] The Gordon Parks Foundation marks 20 years with expanded fellowships and 2026 awardees
  • [H1] Textile Alchemy: Nicolás Garrido and letting materials speak
  • [H1] Matteo Dal Vera’s portrait of a body of water in transition
  • [H1] Latest Stories
  • [H1] Latest Journal stories
  • [H2] The Deutsche Börse Prize 2026 announces its shortlisted artists
  • [H2] Ocean Vuong considers Asian American rest and labour in his debut solo show
  • [H2] Power and fragility in the Leipzig Photobook Festival
  • [H2] On the Cusp: Announcing the winners of Female in Focus 2025
  • [H2] Kalpesh Lathigra’s The Lives We Dream in Passing
  • [H2] The first exhibition in Italy to focus on the HIV-Aids crisis
  • [H2] In Florida Boys, Josh Aronson finds magic in the encounter between young men and nature
  • [H2] Documenting the overlooked legacy of debutante balls for Black American youth
  • [H2] The Metropolitan Museum receives a grand gift of global photography
  • [H2] Bookshelf
  • [H2] Agenda
  • [H2] Industry Insights
  • [H2] The Deutsche Börse Prize 2026 announces its shortlisted artists
  • [H2] Ocean Vuong considers Asian American rest and labour in his debut solo show
  • [H2] Power and fragility in the Leipzig Photobook Festival
  • [H2] Bookshelf
  • [H2] Agenda
  • [H2] Industry Insights
  • [H4] Documenting the overlooked legacy of debutante balls for Black American youth
  • [H4] The ordered universe of war: revealing the military-industrial complex
  • [H4] Taboos and the trans community are at the heart of Ditte Haarløv Johnsen’s photographic diary from Mozambique
  • [H4] Somewhere between a doll and a dog: refusing transness as something to be solved
  • [H4] Davide Sorrenti’s work journals uncover a world of troubling beauty
  • [H4] “Broken promises”: Jono Terry investigates a ‘colonial hangover’ at Lake Kariba, Zimbabwe
  • [H4] All aboard! Legendary hotel and trains company Belmond supports new photography
  • [H4] Andrew Miksys reissues BAXT, a documentation of the Roma community in Lithuania
  • [H4] The Deutsche Börse Prize 2026 announces its shortlisted artists
  • [H4] Ocean Vuong considers Asian American rest and labour in his debut solo show
  • [H4] On the Cusp: Announcing the winners of Female in Focus 2025
  • [H4] Kalpesh Lathigra’s The Lives We Dream in Passing
  • [H4] The first exhibition in Italy to focus on the HIV-Aids crisis
  • [H4] Through the gates of hell and heaven: Dean Majd’s New York odyssey
  • [H4] Remote Learning with Real-World Application: An Insight into Falmouth’s Online Photography MA
  • [H4] At Chobi Mela, photography’s contradictions are exposed and engaged with
  • [H4] What does Paris Photo 2025 have in store?
  • [H4] Yancey Richardson marks 30 years with artist-led anniversary exhibition
  • [H4] In conversation: Ramón Reverté on 25 years of publishing at Editorial RM
  • [H4] “Anticipatory obedience”: The precarious state of photography for the trans community in the United States
  • [H4] Taking risks on your own terms: what Falmouth University’s online MA has to offer
  • [H4] A new home for photography in Vienna
  • [H4] Varun Aditya, on phone photography, relinquishing control and staying inspired
  • [H4] Discovery and innovation compliment industry legends at AIPAD’s Photography Show 2025
  • [H4] The Deutsche Börse Prize 2026 announces its shortlisted artists
  • [H4] Ocean Vuong considers Asian American rest and labour in his debut solo show
  • [H4] On the Cusp: Announcing the winners of Female in Focus 2025
  • [H4] Kalpesh Lathigra’s The Lives We Dream in Passing
  • [H4] The first exhibition in Italy to focus on the HIV-Aids crisis
  • [H4] Through the gates of hell and heaven: Dean Majd’s New York odyssey
  • [H4] Remote Learning with Real-World Application: An Insight into Falmouth’s Online Photography MA
  • [H4] At Chobi Mela, photography’s contradictions are exposed and engaged with
  • [H4] Documenting the overlooked legacy of debutante balls for Black American youth
  • [H4] The ordered universe of war: revealing the military-industrial complex
  • [H4] Taboos and the trans community are at the heart of Ditte Haarløv Johnsen’s photographic diary from Mozambique
  • [H4] Somewhere between a doll and a dog: refusing transness as something to be solved
  • [H4] Davide Sorrenti’s work journals uncover a world of troubling beauty
  • [H4] “Broken promises”: Jono Terry investigates a ‘colonial hangover’ at Lake Kariba, Zimbabwe
  • [H4] All aboard! Legendary hotel and trains company Belmond supports new photography
  • [H4] Andrew Miksys reissues BAXT, a documentation of the Roma community in Lithuania
  • [H4] What does Paris Photo 2025 have in store?
  • [H4] Yancey Richardson marks 30 years with artist-led anniversary exhibition
  • [H4] In conversation: Ramón Reverté on 25 years of publishing at Editorial RM
  • [H4] “Anticipatory obedience”: The precarious state of photography for the trans community in the United States
  • [H4] Taking risks on your own terms: what Falmouth University’s online MA has to offer
  • [H4] A new home for photography in Vienna
  • [H4] Varun Aditya, on phone photography, relinquishing control and staying inspired
  • [H4] Discovery and innovation compliment industry legends at AIPAD’s Photography Show 2025
  • [H4] Les Rencontres d’Arles returns with an expanse of shows across territories
  • [H4] Why Don’t You Dance? — Hannah Darabi on resistance, memory and movement in Iran
  • [H4] Hannah Darabi wins the Prix Elysée
  • [H4] A new photo book investigates Irish culture and the landscape beyond conflict and stereotypes
  • [H4] Sophie Green’s romantic vision of a lived Britain
  • [H4] Theodoros Gennitsakis marries Ancient Greek mythology with contemporary street subcultures
  • [H4] A Thousand Small Stories: The first retrospective of Eileen Perrier’s expansive and humanist work
  • [H4] Welcome to Slidefest 2025: In conversation with Mohamed Somji
  • [H4] The first exhibition in Italy to focus on the HIV-Aids crisis
  • [H4] The Turkish artist elevating wedding photography
  • [H4] Karla Hiraldo Voleau turns heartbreak into empowerment as she reclaims her story
  • [H4] Erica Reade photographs lovers on New York’s beaches
  • [H4] Wish you were here: Love and loss in photography
  • [H4] A vivid journey into Momo Okabe’s psychological landscape
  • [H4] Marco Zanella finds love in the Italian countryside
  • [H4] A selection of photobooks to look out for this spring
  • [H4] Somewhere between a doll and a dog: refusing transness as something to be solved
  • [H4] What is a home and how do we construct one? Foto/Industria investigates
  • [H4] Middle East Archive invites us to meditate on the spiritual and material power of the living room
  • [H4] Narrating the multitude of Britain’s stories through still-life
  • [H4] Marie Tomanova comes full circle with her exploration of the home in a new photo book, It Was Once My Universe
  • [H4] Julia Gat’s decade-long project invites us to reimagine what we define as learning
  • [H4] Osceola Refetoff’s poignant survey of man’s presence in the deserts of the American West
  • [H4] Salih Basheer’s dreamlike images explore home, belonging and loss

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