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This autumn, I worked alongside Converse’s Connectivity campaign, which you probably saw all over Old Street tube escalators if you live in London. I took portraits of the participants and documented the whole process. One of the best moments was snapping Graham Coxon, Paloma Faith and Bill Rider Jones as they recorded a song, which I believe is out in January. Anyway, here’s the portrait I did of Paloma alongside it. I’ll publish more Converse stuff here over the next few weeks; so you know, hang around.
I’ve been doing some work for Converse over the last few months for their Connectivity campaign. It’s been pretty cool – I’ve been doing portraits of the participants (snapping Bernard Sumner and Hot Cip blew me away, such a fan), behind-the-scenes shots of the campaign, and other shots such as snapping bands as they recorded a song for the campaign. I’ll do a proper post about my work for it all soon, but in the mean time here’s a preview of some of my work from all this in the current issue of Vice.
With Exposed: Voyeurism, Surveillance and the Camera, the Tate Modern has wheeled out another blockbuster exhibition, enticing the public in with more photographs and photographers than there are varieties of baked beans in a supermarket aisle. But this time – unlike 2008′s Street and Studio, which gathered almost all genres of photography under its title’s wide umbrella – Exposed somehow threads all its loose ends together. In her book On Photography, Susan Sontag said, “The knowledge gained through still photographs will always be some kind of sentimentalism, whether cynical or humanist.” She discusses the way a photograph always prettifies any …