By the time of his death in 1992, at age 49, Luigi Ghirri had taken some 2,000 pictures in Puglia, most of which have never been seen publicly.
In a way, Solomon’s photo series The Forgotten harks back to a time when viewers believed that pictures told it all.
Hoda Afshar’s images capture craggy, Martian-red rock formations and poetic moments of communion between individuals and landscapes.
A persistent feature of Paul Graham’s photographs in Beyond Caring is the way they describe the act of waiting as a common, and alienating, condition of Britain’s welfare system.
The most important thing Ursula Schulz-Dornburg carried with her as she wandered the streets of Yerevan, Armenia, in search of new wonders, is not this camera or that, but the thought of her daughter.
Through a range of visual and poetic essays, Lisa Barnard’s The Canary and The Hammer offers a heady examination of our enduring fascination with the element.