February 13th, 2015 admin
We English by Simon Roberts, “Banal Nationalism” in Landscape? is a journal article by Karine Chambefort-Kay, Université Paris-Est Créteil, from the new issue of Journée d’études, entitled “The American and British Nations in Contemporary Landscape Photography” (December 2014)
This paper studies the case of a landscape photography project by British photographer Simon Roberts: We English—the project comprising the book published by Chris Boot in 2009, exhibitions of the large format prints of the photographs, and the artist’s dedicated website with a blog and forum for the public to propose subjects. We address the question of English national identity in Simon Roberts’s photos through the concept of “banal nationalism” coined in 1995 by Michel Billig. The first part draws on Billig’s thesis that the nation is “flagged” in the most banal everyday environment and activities, and discusses whether Simon Roberts’s documentary photographs evidence such subliminal national “flagging”. The second part shows the limits of the concept of “banal nationalism” when studying We English because of the complex, collaborative and reflexive nature of the project. By revealing how personal and intertextual references inform both the photographer’s and the viewer’s perception, the artist documents the dialectical process and negotiations at work in national identification. The third part contends that this dynamic approach of Englishness allows Roberts to propose his own re-imagining of the homeland.
On writing about my working practice for the project, Chambefort-Kay comments:
“A vast framework of references is the backbone of the whole project, and it is made visible through various devices. Simon Roberts opts for transparency on the genealogy of his pictures and on his authorial choices. He questions himself and his audience on the cultural filters and the modes of perception that inform their understanding of landscape. Therefore it is crucial to take into account the whole project, that is, to include both the blog and the pictures in our analysis to appreciate the full scope and impact of We English. Beyond merely documenting the English outdoors, Simon Roberts reveals the different ways in which people connect with the landscape both in nature and in pictures. He offers an insight into the mechanisms through which the national community is constantly re-created in landscape, showing that everything is negotiated individually and collectively.”
And in conclusion, writes:
“We English offers a renewed vision of England. New forms of cohesion and belonging are evidenced, but they are not exclusively found in urban areas. Simon Roberts does not reject the national frame, but reinvents it, by revealing the interactions and relations involved in national identification. The photographs of We English and the whole project actually display the openness of conviviality, which “makes a nonsense of closed, fixed and reified identity and turns attention toward the always unpredictable mechanisms of identification” (Gilroy, 2005, xvi). The nation is re-imagined through a new, dynamic, open vision of England.”
You can download a pdf of the full article here.
Chambefort-Kay recently completed a PhD entitled “Ecritures photographiques des identités collectives, Grande-Bretagne, 1990-2010”, which deals with many British photographers and exhibitions from the period and includes some chapters about We English and The Election Project.
February 13th, 2015 admin
Perspectives on place: theory and practice in landscape photography (Bloomsbury, 2015)
Perspectives on Place
by J.A.P Alexander is a new book exploring the history of landscape photography and looks critically at how contemporary photographers continue to find new and innovative ways of engaging with the landscape and their surroundings. It looks at the visual approaches that have been adopted by photographers and artists to facilitate the communication of ideas and themes, as well as more abstract concepts. Practical issues, such as effective composition and managing challenging lighting conditions are also discussed.
Alexander references We English in the chapter Landscape and Power – Inspiring Nationhood. He writes:
“Simon Roberts’s major project We English is a survey of the contemporary English landscape and picks out peculiarities and eccentricities, as well as more commonplace activities of its inhabitants. While the project is likely to be immediately accessible to British audiences, there is a danger this kind of project might leave foreign audiences at loss as to how to interpret the subject matter or even how to confine a nation to conformed stereotypes.
Roberts’s work has been compared to Martin Parr’s Think of England (2001), which isolates English stereotypes more explicitly. Roberts’s photographs are, of course, created and read in a landscape paradigm. The photographer looks specifically at the diversity of English leisure activities in relation to the landscape, ranging from the bizarre – the annual Mad Maldon Mud Race in Essex – to the intimate – Roberts’s photograph of the South Downs in Sussex shows what we assume is a young couple relaxing in a field, a curious echo of the pastoral motif of young villagers courting. As well as the presentation of clichés, such as the couple picnicking barely a few meters away from their car in the Yorkshire Dales, Roberts challenges stereotypes about the English landscape.”
Page Count: 192
Imprint: Fairchild Books
The odd yet unmistakeable character of English country life is revealed in Andy Sewell’s new book, ‘Something like a Nest’.
View the images here.
“Andy Sewell’s photographs are clearly a record of the countryside. But his pictures are about something less obvious: the redundancy of the ideas we have about the pastoral when they come up against modern life. As a knitting together of the artificial and unmade, the English countryside is a perfect expression of our unstable world. Sewell shows us a landscape governed by forces beyond individual or collective control. He doesn’t mind if we are provoked. He’s happy to make us laugh. There isn’t something he needs us to believe. He doesn’t want to shatter our illusions, merely quieten them – to allow us to see the complexity of what’s before us.” Financial Times
Estuary England is a short film exploring the area around the Queen Elizabeth II Crossing at West Thurrock. It is the first part in a wider PhD study by Simon Robinson exploring the Thames Gateway region and the pull of the contemporary ‘empire of London’ in its surrounding satellite towns.
Estuary England from Simon Robinson on Vimeo.
Robinson is currently working on an AHRC funded practice based PhD, entitled Archipelagos of Interstitial Ground: Investigating edgelands in the UK through photographic practice at the University Of Arts London, working out of the Photography and the Archive Research Centre (PARC).
You can follow his progress via his blog Driving Thru Wasteland here: simonleerobinson.wordpress.com
A series of photographs from my We English series are included in this new survey of contemporary landscape photography produced by curator William A. Ewing and published by Thames&Hudson.
ABOUT: Landmark is a defining survey of contemporary landscape photography featuring more than 230 images by over 100 leading photographers of today, all of whom present an individual viewpoint about a shared concern for our changing landscape and environment. The book is organized around ten themes and includes work by such distinguished practitioners as Edward Burtynsky, Stéphane Couturier, Mitch Epstein and Sally Mann. From restful, bucolic images capturing the last vestiges of nature, through shocking depictions of a sullied Earth, scarred and abused, to surreal and artificial landscapes where the natural landscape is a highly controlled one, the book provides a thought-provoking meditation on the meaning of landscape in todays world. The well-known writer and curator William A. Ewing contributes introductory texts to each of the sections, as well as the preface and introduction. Landmark also features statements by the artists themselves.
In reference to We English, Ewing writes:
“As the historian Simon Schama has noted, the pastoral is ‘a product of the orderly mind rather than the playground of the unchained senses.’ Simon Roberts’s images of the English at play illustrate this point beautifully; a people at ease with themselves and surroundings, ‘exploring and examining their own countryside, eulogizing its obvious virtues… making a virtue of its drawbacks, and assuring themselves that no country in the world is quite so pleasant’. In fact, those words were used to describe England as photographed by the thoughtful Edwin Smith almost a century ago. Yet they apply beautifully to Roberts’s world.”
The book is organized into ten themes—Sublime; Pastoral; Artefacts; Rupture; Playground; Scar; Control; Enigma; Hallucination; and Reverie—Landmark is an intelligent and poetic survey which captures a genre of photography to perfection.
- Format: Hardcover
- Pages: 256
- Artwork: 240 color illustrations
- Size: 12 in x 10 in
- Published: September 16th, 2014
- ISBN-10: 0500544336
- ISBN-13: 9780500544334
Available on Amazon, here.
February 17th, 2014 admin
Over the life of the We English blog I’ve attempted to add references to other photographic works which have explored notions of the English landscape and Englishness. You can see several of them on my Photographic Timeline and under Other Studies. Of course this is by no means an exhaustive list, rather an organic one which I rely on others to assist in building. I was therefore delighted to receive an email from a reader of the blog, Peter Hamilton, who was kind enough to suggest several books I’d missed. I’ve published the email below and added web links.
Please do email me with any more suggestions, or post them on the blog below. Thanks!
“I was very glad to see you have discovered Edwin Smith. Smith is important to mention because his books (for instance English Parish Churches, first pub 1952) conform to an earlier, broader and essentially illustrative photographic literature that is also about English landscape and thus Englishness – the modern form of “monographic” or “survey” work on particular places, communities, localities, etc being a far more recent thing, apart from some rare earlier and notable examples (cf. PH Emerson‘s work on East Anglia from the 1880s). Nonetheless, detailed photographic inventories of specific locales certainly existed in the 19th century as the source material for a market in postcards and prints for commercial sale.
As you will know, most of Smith’s work (apart from the didactic but fascinating volumes he wrote and illustrated for Focal Press) was done under commission from publishers to illustrate books on a particular topic, usually with a “known” writer (what the French term a “locomotive littéraire”). During his career there really was hardly any scope (or more properly market) for what we would call a photobook in the sense that it has come to have in recent years, and which is now in many ways a somewhat distorting lens for seeing the history of photography (though of course it does describe one contemporary paradigm for photographic publication).
It could be argued that historically-speaking the majority of the most influential photographic books have probably not been “photobooks” as defined in the Parr et al sense. In terms of launching public interest in photography for instance, the impact of the “Family of Man” book from 1955 was probably immensely greater than that of Frank’s “Americans“, which itself was far outdistanced even within the smaller circles of enthusiast photographers by HC-B’s “Decisive Moment/Images à la sauvette” of 1951. There are generational aspects to this question, of course.
So I think you could add several of the Smith books to the list – such as Parish Churches, England (with G. Grigson), English Cottages and Farmhouses, etc. There is a good bibliography in Elwall (here is link to Elwall’s article on Culture 24 ‘Edwin Smith: from English parish to Pompeii‘)
But my main point was to offer a couple of other practical suggestions/corrections on the Photographic Timeline re Ravilious and others.
Firstly, on James Ravilious.
His first book which I think should figure on your list was (1980) The Heart of the Country, with Robin Ravilious, London, Scolar Press. This displayed the first fruits of his work for Beaford Trust on North Devon land and people from c.1972.
In 2005 he published A Corner of England: North Devon Landscapes and People, Tiverton, Devon Books and Lutterworth Press. This also contains examples of his colour work, though the book was very poorly printed.
Can I also suggest you refer to An English Eye in its first edition (1998, Devon Books, Tiverton but printed quite well by Jackson Wilson in Leeds). The 2007 volume published by The Bardwell Press and printed by EBS in Verona is the 2nd edition, better printed though hardly changed except for the bibliography and couple of minor corrections.
In 2000 Down the Deep Lanes was published, with a text by Peter Beacham. This was a thematic book about characteristic aspects of the South-West’s landscape, vernacular architecture and rural communities using some photographs from the Beaford project, but mainly others specially made for it in Devon and Cornwall up to 1999, the year of Ravilious’s death. It was re-published in 2008 in a slightly revised second edition, again by The Bardwell Press.
Other work on England I think you might note:
John Berger and Jean Mohr (1967) A fortunate man: The story of a country doctor (1969, Penguin)
Chris Chapman (2000) Wild Goose and Riddon, Tiverton; Halsgrove.
Chris Chapman and James Crowden (2005) Silence at Ramscliffe, Oxford The Bardwell Press.
Patrick Sutherland and Adam Nicolson (1987) Wetland: Life in the Somerset Levels, London, Michael Joseph.
Adrian Arbib (2009) Solsbury Hill; Chronicle of a Road Protest, Oxford, The Bardwell Press.
Ian Beesley‘s work is interesting but is not easily accessible in book form for some reason.
John Davies (1987) Green and Pleasant Land, Manchester, Cornerhouse, was very influential, I believe.”
Peter Hamilton, 14 January 2014
November 19th, 2013 admin
For nearly a decade Jason Orton and Ken Worpole have collaborated on documenting the changing landscape and coastline of Essex, particularly its estuaries, islands and urban edgelands. They continue to explore many aspects of contemporary landscape topography and architecture. They have just released a new book called The New English Landscape.
The New English Landscape critically examines the changing geography of landscape aesthetics since the Second World War, noting the shift away from the arcadian interior to the contested eastern shoreline. It discusses how writers and artists gravitated towards East Anglia, and latterly towards Essex, regarding them as sites of significant topographical disruption, often as a result of military or industrial occupation.
These are landscapes of unique ecological and imaginative resonance, particularly following the Thames, and the islands and estuaries of its northerly coastal peninsula. The book assesses the past, present and future of this new territorial aesthetic, now subject to much debate in the contested worlds of landscape design, topography and psycho-geography.
The book contains 22 colour photographs, an 18,000 word essay, extensive bibliography, maps, and is a medium-to-large format paperback.
Ways to buy The New English Landscape can be found here.
Brighton Beach, 1952
(Gelatin silver print, 14 1/2 x 20 inches, 2010)
© Edwin Smith / RIBA British Architectural Library Photographs Collection
I’ve recently been made aware of the work of Edwin Smith (1912 – 1971), the English architectural and landscape photographer (I’m slightly embarrassed to say I’d not come across his work before embarking on We English).
Here’s a short bio from the V&A’s website (they hold a collection of his prints) – Smith’s photographs illustrated many books dealing with ‘English Cottages and Farmhouses‘ (1954), ‘English Parish Churches‘ (1952) and ‘Hatfield House‘ (1973). From the Second World War onwards, Smith began to look at rural Britain and architectural subjects. In the 1950’s, he illustrated a number of books on the landscape and architecture of Britain, including English Parish Churches, English Cottages and Farmhouses and The English Gardens. By the time of his death in 1971 Smith had illustrated more than 30 such volumes. Apart from these numerous book commissions, he often photographed simply to note and capture nuances of civic life. His photographs are testimony to the sympathetic approach he adopted towards British life and landscape.
You can see a selection of Smith’s prints at Chris Beetles gallery in London and on their website here.
And there’s more about Smith’s work at these links-
I recently asked a curator friend who they thought was one of the most important photographers working in Britain over the past twenty years, whose work has not received the recognition it deserves. The curator’s unequivocal response was Tom Wood.
Wood was born in West Ireland in 1951 and now lives in North Wales (where he moved in 2003). Much like Ian Macdonald and Graham Smith (see previous blog post), Wood has chosen to work over the past 25 years almost exclusively in a small geographical area, photographing predominantly in Merseyside and Liverpool. Working primarily on the street and in pubs and clubs, Wood photographed the public face of New Brighton (made famous by Martin Parr in his book The Last Resort), across the river from Liverpool, from the late 1970’s until he moved away in 2003. For much of his time in Merseyside, Wood worked with portraiture “ranging from refined, tonally elegant depictions to informal moments of gesture and interaction from everyday life, captured through the lens with a vision at once tender, vulgar and beautiful.” (from the press release for Wood’s exhibition of The Chelsea Reach).
The Chelsea Reach includes photographs from Wood’s Looking for Love series, taken in his local disco pub between 1984 and 1987. By the time Wood started working in the club he either knew or recognised by sight many of its clientele – some of the faces belonged to young people he had photographed on the streets years before. His observations possess a raw closeness without being voyeuristic. Here are some of his photographs from the project –
Untitled, 1982-86 from The Chelsea Reach © Tom Wood
Untitled, 1982-86 from The Chelsea Reach © Tom Wood
Untitled, 1982-86 from The Chelsea Reach © Tom Wood
Untitled, 1982-86 from The Chelsea Reach © Tom Wood
Untitled, 1982-86 from The Chelsea Reach © Tom Wood
Wood’s recent solo shows include The Museum of Photography, Copenhagen, Denmark; Foam Fotomuseum, Amsterdam; Musee de l’Elysse, Lucanne. His work can also be found in the public collections of MoMA, New York; The International Centre for Photography, New York; and the Victoria & Albert Museum, London.
There are several publications of his work, most of which are out of print: Bus Odyssey (Hatje Cantz, 2001); People (Wienand Verlag Koln, 1999); All Zones Off Peak (Dewi Lewis Publishing, 1998); Looking for Love (Cornerhouse Publications, 1989); and Photieman (Steidl, 2005).
The publishing blurb for the latter says: “For 25 years Tom Wood lived in New Brighton, just across the river Mersey from Liverpool. He became known locally as ‘photie man’ because everyday he was out on the streets with his camera. Most of the pictures collected together in this book were taken within 5 minutes walk from Wood’s home. The work focuses on the inhabitants of the town and its regular visitors, from Liverpool day-trippers to clubbers who attended the Chelsea Reach nightspot. Wood’s images are a dazzling selection of cocky youths, friends, lovers, fathers, mothers and babies that provide insight into the area, it’s inhabitants and the rites of passage inherent in growing up. Artist and curator Padraig Timoney has collaborated with Wood in the selection and sequencing of photographs to make a significant book-work.”
You can read a review of Photie Man by Ken Grant on Foto8.com here and see spreads from the book on Shane Lavalette’s blog here.
The other week, in the space of a couple of days, I somewhat bizarrely happened across the siblings of two British photographers in two separate circumstances – the first during a lecture I was giving at the Cleveland College of Art & Design and the second during a visit to Martin Parr’s studio in London. Interestingly both the photographers in question were born in the north east of England within a year of each other and have spent most of their photographic careers documenting the community where they grew up and lived. They have both produced historically significant bodies of work and have, to varying degrees, shunned the spot light over the years.
The photographers in questions are Ian Macdonald (b.1946, UK) and Graham Smith (born 1947, UK).
After labouring in a string of jobs in heavy industry, Ian Macdonald went on to forge a career in photography and has spent the last forty years photographing the hinterland of his native Cleveland. He has gained acclaim for his powerful studies of the industrial and post-industrial world he was born into, with its smoking chimneys, its dockyards and salt-of-the-earth people. His work examines the relationship between man and his environment, and has often focused upon the heavy industry based around the River Tees, particularly in the 1970s and 80s. His rich and extensive work includes ‘Greatham Creek’, ‘The Tees Estuary’ and, exploring the villages of the Esk Valley, ‘Quoits’ (photographs from which can be seen on the Side Gallery website here). In 1987, with the painter Len Tabner, he produced the book ‘Smith’s Dock – Shipbuilders’, exploring the later days of the construction of North Islands, the last ship to be built by this shipyard on the River Tees.
Greatham Creek © Ian Macdonald
Ken Robinson © Ian Macdonald
I thought I’d let Macdonald talk about his work in his own words, with extracts taken from a speech he delivered at the Press Conference for the launch of ‘Art of Photography’ exhibition at the Royal Academy of Arts in 1989 (which is as poignant now, as it was then):
“Many of the images which photography spawns and which are common to us all are either to report an event or to sell a product. All the material we see is mechanically reproduced. We are fed it in dollops between dramatic headlines, advertisements, sport, fashion and a whole host of other things. This imagery varies in size from postage stamp to giant billboards, each designed for a particular purpose essentially to capture and hold our attention for some ulterior motive which in so many cases has little to do with the actual image. This bombardment gives the art of photography an indifferent name, the images are cropped, manipulated and mutilated which discredits the photograph. Such material, being so unavoidable, can only precondition the ways in which people look at and consider photographs.
Within sight and sound of the largest blast furnace in Europe © Ian Macdonald
Young John Allison © Ian Macdonald
“Two of the most obvious things about photographs intrigue me, their stillness and silence; these are for me also their major strengths. Photographs, being silent and still, preclude reality other than in that most superficial sense of the representation of an apparent likeness. In precluding reality they fall into the realm of myth, where everyone is free to invent by association as they see fit, for the meaning of each photograph is conditioned by those personal experiences the onlooker takes to viewing each image. This makes many types of photograph universally accessible. It follows that it is close to impossible even to contemplate the irrelevant notion, which is, are photographs Art? As Paul Strand so succinctly stated “All painting is not art”.
Largest blast furnace in Europe at Redcar, Teesmouth © Ian Macdonald
“It is the viewing of real photographs, which is singularly important. The actual photographic print, from the negative, as the artist made it is very particular. Each original print though made from one negative is, in fact, unique. The size, tone and surface of the print and not least the image, which is what it is all about, are all specific to the artist. To be of any real value it is better for the artist to have made the print. Considering photographs need to be given both time and space, and like any other “good” piece of artwork the “good” photograph will grow with viewing. It will develop, freeing the mind, as looking and reflecting will inevitably raise other notions, associations and feelings and so a process of enrichment goes on.” Read Macdonald’s full statement here.
Young lad, houseboat side © Ian Macdonald
Macdonald has produced several books, most notably Eton (2007) – Between 2006-2007 he lived as part of the famous Eton College community as artist-in-residence, teaching and making a photographic response to that environment. He has also collaborated with painter Len Tabner on the publications Smith’s Dock Shipbuilders (1987) and Images of the Tees (1989). Macdonald has exhibited widely and his work features in many collections, including the Victoria and Albert Museum, London; the Arts Council of England; and the Danish Royal Library, Copenhagen.
Eton by Ian Macdonald
You can find out more about Macdonald’s work and purchase copies of his books here. Also, Macdonald’s son, Jamie, has made a film which looks at his father’s unique practices (he still process and prints his own work at home in the darkroom) and individual philosophy. As well as showing photographs from his archive, it captures the artist making new work. Martin Parr is quoted on the jacket sleeve saying “This charming film gives an insight into this process and working methods. We learn how he shoots and prints these spectacular images, using analogue technology and patience, which is so rare in our digital age.” You can purchase a copy of ‘Shooting Time’ by sending an email to email@example.com.
A few days after meeting Jamie Macdonald in Darlington, I had the unexpected pleasure of meeting Graham Smith’s daughter in London. Like Macdonald, Smith photographed extensively in the north east of England and particularly in the city of Middlesbrough.
The Black Path, Middlesbrough © Graham Smith, 1986
Smith was born into a family whose work, class and culture, on his father’s side, was rooted deeply in the heavy industry of iron making for at least four generations. His beginnings in photography came at Middlesbrough College of Art and later the Royal College of Art. From the start his subject was close to home and Smith spent more than a decade making photographs of his friends and relatives and the pubs they frequented around the South Bank area of Middlesbrough.
I Thought I Saw Liz Taylor and Bot Mitchum in the Back Room of the Commercial, Middlesbrough © Graham Smith, 1984
Dancing Girls, Middlesbrough © Graham Smith, 1985
In the 1970s Smith was among the photographers central to the Side Gallery in Newcastle, and created a series of photographs that showed working-class people in the north of England that were in a documentary style but were in fact montages. Work from the 1980s would show people within townscapes, and in the words of David Alan Mellor, were “atmospheric, steeped in popular (and personal) memory — dark, romantic places with all the melancholy attributed to Eugène Atget’s familiar locations”. Another Country, a joint exhibition with Chris Killip held in London at the Serpentine Gallery in 1985, was generally well reviewed but to some appeared passé in the light of the new “postmodern” work of Martin Parr and others (Killip’s work from the project became the foundation of his book, In Flagrante).
Thirty – Eight Bastard Years on the Furnace Front Mess Room for No. 4 and No. 5 Furnaces, Middlesbrough © Graham Smith, 1983
No Tickets Taken, Middlesbrough © Graham Smith, 1982
The inevitability of working for life in the iron and steelworks troubled him and disillusioned with photography, Smith stopped making photographs in 1990, when he became a professional frame maker. Although he has continued a life-long investigation of his working class roots through his research and writing. Recently his work could be seen in Granta 95: Loved Ones, published in 2006, where he wrote an essay called ‘Albert Smith’, about his father’s life:
“My dad, George Albert Newton Smith, was born into a family whose culture, work and class were rooted deep in the heavy industry of ironmaking. In hope of a better life, his great grandfather left the ironstone mines at Rosedale during the middle of the nineteenth century to look for work in the fast growing industrial town of Middlesbrough. He was the first of four generations to work for the powerful ironmasters who, with their vision of an iron and steel metropolis, built so many blast furnaces along the River Tees that it was said one man could not count them all in one day. There was a job for any man who had the strength to work and the will to give loyalty for life to the company. As a young boy older than his years my dad knew that when his days at school ended, by tradition he would follow his own dad into the Cargo Fleet Iron Company. Working together under the structure of three formidable blast furnaces, they repaired the large steam cranes used for moving ironstone and slag. His older brother Bill worked as a front man at the foot of one of those blast furnaces, but some years later was crushed to death when the ageing furnace, under too much pressure, exploded.” Graham Smith, 2006
Outside the Commercial, Middlesbrough © Graham Smith, 1982
Despite Smith’s work being held by several major collections including the Museum of Modern Art in New York, and the Victoria and Albert Museum in London, it has been almost impossible over the past twenty years to see his photographs. More recently he seems to have been coming (ever so slightly) out of the shadows with his prints now represented by Eric Franck Fine Art in London – there were some fabulous prints on show at last year’s Paris Photo – and Rose Gallery in LA.
A quote on Eric Frank’s website maybe best sums up Smith and his work – “People, pubs, stories, photographs, writing and ego have all been important to him and Smith’s photographs can be seen as an obsession to understand values, good and bad, of the culture he left behind.”
You can find out a bit more about Smith on wikipedia here.
Both Macdonald and Smith are from a generation of photographers who were driven to document the experiences of the places where they grew up and lived, charting the injustices of society but also the stoicism and richness of the characters they photographed. Neither were interested in awards and accolades, rather they wanted to tell the stories of those around them.