One man almost single-handedly defined the photographic image of Venice in the late twentieth century: Fulvio Roiter (1926–2016). His output...

He was the first to perceive the revolutionary energies that appear in the 'outmoded', in the first iron constructions, the first fa...

‘The illiteracy of the future’, someone has said, ‘will be ignorance not of reading or writing, but of photography’. But shouldn’t a photogr...

Robert Adams was one of the photographers showcased in the celebrated New Topographics exhibition held at George Eastman House in 1975, wh...

There are very few telephoto compositions in Push Process : of the sixty or so unique images, only four (unless you count the shots taken on...

In Push Process , I tried to argue – and to dramatise – the idea that photography is something one does with the whole body, not a disembodi...

There are many images and books by David Goldblatt I could have chosen to showcase here. He was one of the most important documentary photo...

I'm doing two author events for Push Process this Thursday, 21 March, in Canterbury. The first is at the Canterbury Christ Church Unive...

Diane Arbus is one of the most influential monographs in the history of photography. Since it was first published in 1972, a year after Arb...

All the published photos in Push Process are printed in black and white, and the vast majority were also shot on black and white film, but ...

This piece is adapted from a portion of an academic article I published in 2011, which is based around the photographs that are now included...

These two large-format images were in the concluding photosequence for Push Process until the last minute, both of them near the beginning ...

The title of Robert Frank’s The Americans  knowingly places it in conversation with Evans’s  American Photographs from 1938, which Frank use...