Portrait Salon

Jan Klos

The Photographic Guide to the Pubs of East London.

Jan Klos’s portrait of the people who work at The Nelson’s Head pub in Shoreditch, London (below) was selected for Portrait Salon 2014 and comes from his series ‘The Photographic Guide to the Pubs of East London’. The work will be exhibited during Photomonth London at Bethnal Green Working Men’s Club from 7th to 14th October.

Nelson's Head

‘East London is home to some of the oldest and best pubs in the world. Some are historic, steeped in tradition, while others put on popular gay nights or serve locally made beers. There are lots of them, and at the heart of what makes them worth visiting is their staff – the bar men and women who pull pints, keep locals entertained and often become like the closest of families.’

Pub on the Park

Pub on the Park, London Fields

Mahogany Bar (Wilton's Music Hall)

Wilton’s Music Hall, Shadwell

‘Inspired by the 18th century conversation piece and the traditional family portrait, photographer Jan Klos presents The Photographic Guide to the Pubs of East London, a new series of striking group portraits that introduce viewers to the colourful and dedicated teams behind some of East London’s much-loved drinking dens.’

Star of Bethenal Green

Star of Bethnal Green, Bethnal Green

The George Tavern, Stepney, October 2014 - "The Photographic Guide to the Pubs of East London" by Jan J Klos

The George Tavern, Stepney

‘Since 2008 one in five pubs in the UK have shut down in the face of a struggling economy, rising alcohol taxes and smoke-free policies. The Times labeled them an ‘Endangered British Species’ and East London has seen its share of public houses shut their doors for good. Some of them, including The Nelson’s Head and Joiner’s Arms feature in this exhibition. The Photographic Guide to the Pubs of East London serves to celebrate and raise a glass to East London’s public houses and the people in them, but it is also a timely record of what the area has lost in recent years.’

The George & Dragon

George and Dragon, Shoreditch

The Royal Oak

The Royal Oak, Shoreditch

The opening night of Jan Klos’s exhibition at 6.30pm on 7th October will feature short video interviews with landlords on the importance of pub culture, the role pubs play in local communities and what the future might hold for them. Visit www.workersplaytime.net for more details.
Jan Klos is a Polish-born photographer. Specialising in portraiture and documentary, his work has featured in publications worldwide including Telegraph Magazine, Newsweek, Wallpaper*, Metropolitan and N Magazine. His work has been exhibited in solo and group shows at venues across the UK, including MAC Birmingham, Quad Derby, Lighthouse Wolverhampton, cueB Gallery London, Four Corners London, FUSE Bradford, Oriel Colwyn, Wales and Napier University in Edinburgh. He lives in London.


James O Jenkins

Second Chance Salon


We’re very pleased to be featured in this week’s Professional Photo Magazine which is out today. We spoke to Terry Hope about why Portrait Salon was set up and about some of the plans we have for Portrait Salon 2015.

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The magazine has also kindly offered a downloadable voucher for this issue (No.110) which is usually only available to featured photographers. All you need to do is print it out and take it to WHSmiths. Many thanks to Terry Hope and Roger Payne.

Lydia Goldblatt

Still Here

Lydia Goldblatt’s portrait (below) was selected for Portrait Salon in 2011 and is from her series Still Here, an intimate body of work about her parents. ‘Goldblatt’s series, Still Here (2010-2013), takes as its point of departure the family home, focusing on the transitional experience of the artist’s parents as they age. The work stems from a desire to address the inevitable changes wrought by her elderly father’s approaching death. Her image making combines close observations of the human form with still lives, portraits and abstract works resonant of planets and origins.’

Father, from the series Still Here

Father, from the series Still Here

‘Marked with tenderness, the work is far removed from the haste and public face of contemporary family self-representation. It offers instead a concentrated meditation on mortality, time, love and loss, in which corporeal scrutiny courts metaphysical wonder. Still Here explores the indefinable thresholds that mark out individual existence, and the subtle process of erasure that returns us to the state from which we emerge.’

Mother in the Garden, from the series Still Here

Mother in the Garden, from the series Still Here

After Image, from the series Still Here

After Image, from the series Still Here

‘While the work is about the artist’s family, it is equally a means to contemplate the nature of life and the invisible bonds of love.  It engages with the shifting nature of time, and the potential of photographs to open up the realm of experience via their poetic as well as indexical reality. In making work about a personal experience of mortality, Goldblatt explores the cyclical scope of existence that sees nature’s fingers unpick our fragile yet insistent efforts to build, construct and create.’

Mother, from the series Still Here

Mother, from the series Still Here

Spent Time, from the series Still Here

Spent Time, from the series Still Here

‘Photographing, for me, is a means of giving expression to both the internal and external processes that shape our experience of life. My work considers transitional human states and is tied to concepts of identity and belonging. These images are from a series about my parents, focussing on my elderly father’s mortality, and stemming from a desire to address the inevitable changes wrought by his approaching death.’

Untitled, from the series Still Here

Untitled, from the series Still Here

Threshold, from the series Still Here

Threshold, from the series Still Here

‘I am witnessing human fragility, the physical and psychological boundaries of a human essence. I am interested in the indefinable thresholds that mark out our individual existence, and in the subtle process of erasure that returns us to the state from which we emerge. While the work is about my family, it is also a means to contemplate the nature of life and the invisible bonds of love. It engages with the constantly shifting nature of time, and the potential of photographs to open up the realm of experience via their poetic as well as indexical reality. In making work about a personal experience of mortality, I am exploring the cyclical scope of existence that sees nature’s fingers unpick our fragile yet insistent efforts to build, construct and create.’

Wedding Ring, from the series Still Here

Wedding Ring, from the series Still Here

Window, from the series Still Here

Window, from the series Still Here

Lydia Goldblatt trained at the London College of Communications, receiving a Masters Degree in Photography with Distinction in 2006. She lives and works in London. Her work has been exhibited and published internationally, with group and solo shows in the UK, France, Germany, the Czech Republic, Greece, China and Malaysia.

Her series, Still Here, is the subject of a solo exhibition at the Felix Nussbaum Museum in Germany from November 2012 – January 2013. She has also exhibited recently at Galerie Huit during the Rencontres d’Arles International Photography Festival, the Hereford Photography Festival, the Daylight Photography Awards, Prix de la Photographie and International Photography Awards.

Interviews and features of her work have been published in Photomonitor, Hotshoe, British Journal of Photography, PLUK, the Guardian, Sunday Times, Telegraph, and Wallpaper*, among others.
In 2010 she was nominated for the Sovereign European Art Prize, and in 2011 was awarded the Fundacion Botin Residency Award with Paul Graham. This year she is the recipient of the Magenta Flash Forward Award and International Jewish Artist of the Year award. Anne Braybon, curator of photographs at the National Portrait Gallery, recently nominated her for the Vic Odden Award, recognising significant achievement by a young British photographer.


James O Jenkins

Laura Dodsworth


Laura Dodsworth’s portrait of ‘Debbie’ (below) was selected for the first Portrait Salon in 2011 and is part of Laura’s photographic series ‘Marriage’ about the significance of the wedding dress.



‘Marriage is a series of portraits of women in their wedding dresses in their homes. Women are to some extent defined by marriage, as wives, homemakers and mothers. The portraits are taken in their homes to contrast the ‘fairytale’ of a wedding day, epitomised by the dress, with the domestic reality of marriage.’





‘A wedding day is romantic, full of optimism and the bride and groom are poised on the brink of their journey through life together. The wedding dress is the single most significant item of clothing a woman will ever wear – it’s more than a dress, it says so much about the wearer, and evokes ‘forever’, ‘love’ and your hopes for the rest of your life. Dreams, expense, effort, time are invested in a wedding day. Yet all this is for one day, and bears little relation to the day to day domestic reality of marriage.’





‘What does marriage mean for women? There are so many answers. The series as a whole de-romanticises the dress, raises questions about the wedding day as fairytale and imparts a common experience married women can relate to. At the same time each photograph in Marriage tells a story unique to the subject and provides a window into their domestic world.’





‘Marriage prompted me to take a longer more intimate view through the window of women’s lives, and I went on to spend two years photographing and interviewing women about their breasts, bodies and lives for my first book, ‘Bare Reality: 100 women, their breasts, their stories’.’



Laura Dodsworth is an award-winning people photographer and her work is a personal enquiry as much as it is an exploration of people, their loves, their lives and their place in the world. While the human body and human relationships are important current inspirations, her art/social projects are often driven by deeper socio-political as well as spiritual questions.

Laura has just published her first book, ‘Bare Reality: 100 women, their breasts, their stories’. See more at barereality.net


James O Jenkins

Travis Hodges

Tim Andrews

Travis Hodges’ portrait of Tim Andrews (image on the right of the diptych below) was selected for Portrait Salon 2013 and is part of Tim’s photographic project ‘Over the Hill: A Photographic Journey’. Tim was diagnosed with Parkinson’s disease in 2005 and subsequently left his job as a solicitor and set upon a journey turning himself into a photographic project and has now been photographed by over 300 photographers.


‘This portrait is part of an unusual set, unusual in the sense that the subject is the curator of the series. Some viewers will recognise Tim from other photographer’s portfolios and even from the walls of the Taylor Wessing Prize itself. Some 350 fellow photographers have created a portrait of Tim making a fascinating insight into both his life and the work of so many photographers.

Beginning in 2007, when he answered an advert in Time Out from a photographer looking for a nude model, Tim has journeyed through the photographic landscape offering to model for known and unknown image makers. The project has become a way for Tim to collaborate with artists and be part of the process, it also charts his life with Parkinson’s Disease. This is something that I, like many photographers, have touched on in the image.

My image began from the idea of separating the subject from the viewer with a non physical layer designed to mirror an emotional barrier. The pattern projected over Tim becomes both separating and protecting, reminiscent of watching the rain from behind a pane of glass. We experimented with a few different projections but settled on one that reminded us of both star constellations and medical scans.’

Read Tim’s blog about the shoot here.

Travis Hodges is fascinated by people and uses his camera to explore what makes them interesting, from well-documented celebrities to those who have never stood before a professional photographer in their lives. His work, from time-pressed editorial shoots to longer-term personal projects, is people-driven and examines what makes us who we are. His client list includes Adidas, The New York Times and Virgin Media and his images are seen in magazines such as The Independent New Review, Wired and ES. Personal projects allow him to further explore the human condition and consider how people come together in tribes through common interests or habits. His projects Follow Me and The Quantified Self investigate how technology is impacting on the way we live.

His awards include the Royal Photographic Society 155th print exhibition; the Observer Hodge Award and the Jerwood Photography Award. When he’s not behind the camera, Travis organises the monthly Photo-Forum talks in central London, where working photographers can discuss and debate their images, ideas, and approaches.



James O Jenkins

Carly Clarke

Reality Trauma

Carly Clarke’s self portrait (below) was selected for Portrait Salon 2013 and is from her work ‘Reality Trauma’, a self-portrait photographic series she produced in March 2012 when diagnosed with stage 4b Hodgkin Lymphoma, a rare cancer and with a large tumour inside her right lung during her final year of a BA photography degree at Middlesex University. The portrait below is Carly on her last day of chemotherapy.


‘While I was overwhelmed with chemotherapy treatment for 6 months and the idea of possibly dying, I felt a necessity to record my journey and document my life as it changed so drastically. This led to examining not just myself, but the whole of life’s meaning on many levels. My body became a shell, limited in movement, filled with pain, while I could do nothing but hope and wait for every treatment to end. The image of who I thought I was became unfamiliar, almost alien, losing my hair and so much weight, unable to recognise the reflection in the mirror, which I avoided at all costs. The hospital staff and doctors became like a family to me. I put my trust in their hands through every biopsy and every significant event that required me to surrender to all that was beyond my control. My identity felt crushed, yet I didn’t mind because I knew this perception of a helpless human being was not really me, for inside I was strong, determined and hopeful, and utterly terrified.’


‘My life slowed down to concentrating on getting through each moment, drug to drug, endless exams, giant needles, biopsies drilling deep into bone, tubes down my throat, and hoping for some day, the pain to end. A plastic line inserted to my heart fed sickening but healing medicine through my arm, trying to kill the cancer but taking my strength with it. The cure is as dangerous as the disease, and chemotherapy takes one to the very edge of life. Rapid downhill weight loss was, the most visible threat, and my skeleton became more visible by the day, a reminder of each precious pound lost. The powerful pain killers pushed my fragile life boat even further from the shore of what was once life, nauseating and bending every sense, but I held on. Will I live through this? I did not know.’



‘A meditative focus on the small things that mattered really helped. I found much comfort talking to those in hospital of similar experiences, and spending time with family and friends.  Those moments can best be recalled through the use of a single memorable photographic image.  Nothing but a photograph can take me back to my time with cancer, that moment in its entirety, as if I were there again, re-living the sensations, the feelings I felt and the fears I held in my mind.’


‘These photographs evoke some painful memories for me; however they also remind me of the huge capacity of my own human body to endure through such hellish times. My body, mind and soul were tested to the ultimate ends unimaginable and I experienced life on an unbound level. This self-reflective collection of images gives only glimpses into that time but my hope is that the audience can see not just the horrifying aspects, but also the promise that being a survivor of cancer gives and the tremendous hope for others facing a similar condition.’


‘Traumatic times can be reflected upon as lessons in survival that awaken us to cherish the subtleties of everyday life and our reality that can so easily be taken for granted. The immense persistence, willpower and courage we as human beings possess when required to is sometimes overlooked. We do not give ourselves the credit for fighting some of life’s toughest battles. This period in my life, is evidence that no matter what life throws at us, we can get through it, even when words cannot explain who ‘we’ are anymore, why we are here or even what has happened to us. We are more than survivors; we are more than we think we are and capable of anything if we believe in ourselves and push those boundaries beyond limits visible. What makes us important as human beings is being able to evolve and become and to create anything in this lifetime. We must allow ourselves the credit we deserve, and see beyond the ‘now’, because anything that we believe we are now, in this very moment in time is temporary, for we are always changing and becoming something else.’



‘Change is the biggest part of our identity, of who we think we are, and my ‘self-portrait’ is a portrait of a person I perceive that I am, but only in one moment in time, and not necessarily the next. This work is a collection of moments and identities, as is the practice of photography.’


Carly Clarke is a British documentary and portrait photographer who works in medium-format photography. Documenting in a creative, cinematic style, her work looks at social issues that might otherwise go unnoticed. Storytelling through the voices of subjects she photographs is key to her work.

She has recently completed her MA in Photography and previously BA (Hons) in Photography at Middlesex University, London.



James O Jenkins

Adam King

Chip Off The Old Block

Adam King’s portrait of ‘John’ (below) was selected for Portrait Salon 2014 and is from his work ‘Chip Off The Old Block’, a photographic series about father figure influences in his life.





‘This body of work has been an explorative journey into male roles that have featured throughout my life.  Some of these father figures have been an influence across informative years of childhood or have given further guidance into adult life. The project’s origins started with a construction worker I met in the summer of 2013.  Liviu, a Romanian migrant, was working and living in the UK after moving with his family from Spain.  Working alongside Liviu I got an insight into a man that seemed to be the opposite of what some media representations had labelled him or his culture.  The man I was working with was an educated, sensitive, religious and caring man whose main ambition in life was to provide for his family.’

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‘My project took a change of direction when it was suggested that I look further into myself than into the subject I was documenting.  The very notion of documenting another’s life, one which could be deemed the life of a minority, and of hot political debate, could have aroused suspicion of my agenda as a photographer, rather than the project’s subject.’

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‘Recognising what I admired about Liviu I used this as a catalyst to search into my childhood and specifically that of the father’s role throughout those formative years.  Having a far from linear but also, far from abnormal upbringing, I discovered that these fatherly role models were either given to me or chosen by myself.  Even to this day I have surrounded myself with father figures to guide me into my adult life. The photographs in the series are an examination of not only the individuals and their environments, but also my relationship to those individuals when sitting side by side.  The subtleties of body language may indicate the condition of those relationships, however no intentional references were made to highlight importance or significance to either of the subjects.’



‘This series has also been a confirmation of my continuous search for portraits of males.  Discussions of projection into those I seek to photograph will continue to be of importance in my photographic practice.’



Adam King is a British photographer, who graduated from the University of the Creative Arts, Rochester in 2014.  Adam is currently living and working in London and continuing to practice his personal projects. The majority of Adam’s images are a subtle observation of the community around him who inhabit a workplace, social space, or presumed isolation. His interest in masculinity combined with the life he had before photography is often embedded and referenced in his images, however the path his work takes him on is the leading narrative.  Adam’s signature is his portraiture and he is predominantly an analogue photographer, preferring the process and the relationship it can construct between him and his subject.


James O Jenkins

Benjamin Haywood

Uckfield Matters

Benjamin Haywood’s portrait of ‘Karen’ (below) was selected for Portrait Salon 2014 and is from his work ‘Uckfield Matters’, a photographic series about his hometown of Uckfield in East Sussex, England.

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‘We’d had dinner and I was in the garden with Karen and her son TK playing with their dog Archie. I took Karen’s portrait there whilst the sun was going down. Karen doesn’t much like having her picture taken.’

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‘It is a part of a sweet tale of suburban, middle class Britain centred around the town of Uckfield. A body of work that is ongoing, Uckfield Matters depicts a town that is – all at once – awash with nostalgia and intimacy, introspection and distance. Central to the photographs is a sense of place, memory and belonging. It is a survey of the contemporary suburban landscape.’

Lady with her bag for life

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‘Uckfield is my home. I like to photograph there because it is comfortable for me and I know the people there. Part of my work is about understanding what draws a person to photograph something.’

Lashbrooks road, Uckfield


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‘I am fascinated by the transformative power of photography and art. I am not very interested in photographing, for want of better words, exciting or beautiful things. I am much more interested in taking completely, undeniably ordinary subject matter and making it exciting and beautiful.’

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‘Uckfield is about contemporary everyday life. It’s about how we live, where we live, who we are.’

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Hart Close, Uckfield

Benjamin Haywood received his Batchelor in Photography from the London College of Communication in 2014 and works as a freelance photographer and artist on a range of more and less dignifying projects. ‘Uckfield Matters’ continues to evolve and reshape. Other projects about other subjects are coming up too.



James O Jenkins

David Severn

David Severn’s portrait ‘Ethan and his Mum’ (below) was selected for Portrait Salon 2013 and is part of a body of work that comprises two commissions by Dance4 and The Renewal Trust to photograph young people in Nottingham who are dancers with differing levels of ability.


Ethan with his Mum after Ethan’s first dance class at The Chase community centre, St Ann’s estate, Nottingham

‘The portrait that was selected for Portrait Salon 13, “Ethan and his Mum”, was shot after Ethan’s first ballet class at The Chase community centre on the St Ann’s estate. Ethan had visibly taken to the dance session and tried with impressive enthusiasm to perfect the positions he’d been taught. I approached Ethan and his Mum as they were leaving the centre and we set up the portrait on their walk home. I wanted to convey Ethan’s zealous spirit, so asked him to connect with the camera and demonstrate some of what he’d learnt. His Mum stood behind, proudly placing her hand on Ethan’s shoulder.’


Savannah, a participant in a series of outreach workshops with Birmingham Royal Ballet, presenting a ballet pose in the St Ann’s area of Nottingham.


Street dancers sat in the stalls of the Theatre Royal, Nottingham.

‘I was keen to make the portraits in various locations within the city such as the street, the community centre or the theatre, reflecting a shared community and sense of place. From young people taking their very first dance class to those with years of experience, these portraits depict a common interest among young people of diverse social backgrounds. Rather than becoming distracted by the artificiality of performance or capturing dramatic movement, these photographs present the quieter, more personal moments of creative expression and reveal the self-actualization of youth.’


Jasmine, a keen ballet dancer, outside the Sycamore community centre on the St. Ann’s estate, Nottingham.


Dancer resting between rehearsals, Nottingham Contemporary.

‘Many of the young people I photographed are from the St Ann’s area of Nottingham, a neighbourhood that is still being affected by the collapse of the local manufacturing industry and scores poorly on government measures of deprivation. During the project, Birmingham Royal Ballet ran outreach workshops at The Chase community centre in St Ann’s. I spent time getting to know the participants’ individual personalities and documenting their discovery of dance. It was striking to witness the level of engagement in the ballet sessions from the young people involved, breaking down stereotyped ideas of the art form being an elitist interest not meant for them. I made several portraits responding to the relationship between the perception of ballet and the built environment of the St Ann’s estate, posing subjects in their newly learnt ballet positions in front of social housing, shopping precincts and the community centre.’


Young people during tuition with Dance4’s Centre for Advanced Training programme


Teenagers warming up before a dance class and looking out over Wellington Circus, Nottingham.

‘The social aspect of dance is also a significant theme in the work, exploring the bond between dancers both during practice and in downtime. The familiar adolescent story of inseparable friendships, budding romances, and evolving identities plays out through the images and touches more broadly on the adventurousness and heightened emotions of young people.’


Sharmell, a street dancer, on the stage of the Theatre Royal, Nottingham


Enok on his scooter before dance class at the Sycamore community centre in St. Ann’s, Nottingham

David Severn is a documentary and editorial photographer based in Nottingham, UK. His work is concerned with working class culture and the places associated with it, both historically and today. He is particularly interested in the relationship between people, work and landscape. His current project explores life within coalfield areas in the British Midlands. David’s photographs have been exhibited nationally and internationally including at Renaissance Prize exhibition, Royal Photographic Society International Print Exhibition and Singapore International Photography Festival. He has worked on editorial assignments for numerous publications including FT Weekend Magazine, The Times and MONOCLE. Recently David was selected as a winner of the Magnum Photos “30 under 30” award, an international competition open to documentary photographers under 30 years of age covering social issues.


Twitter: @davidsevern

Instagram: davidsevern

James O Jenkins

Clare Hewitt


‘That night the blind man dreamt that he was blind.’ José Saramago.

Clare Hewitt’s portrait of Eugenie (below) was selected (and used on the cover of our publication) for Portrait Salon 2013.

Untitled (from the series 'Eugenie')

‘I first started photographing Eugenie in 2011, around ten years after her life had been unexpectedly and abruptly changed by a stroke, which had left her severely visually impaired, unable to walk and talk, and with restricted memory. To this day she can’t be sure of her age.’

Untitled (from the series 'Eugenie')

‘I was introduced to Eugenie through the Haringey Phoenix Group, a London based charity for blind and visually impaired people. I had approached them because I was keen to spend time with a person who had experienced one of my own fears, loss of sight.’

Untitled (from the series 'Eugenie')

Untitled (from the series 'Eugenie')

‘I visited Eugenie once a week for three and a half years and have observed many aspects of her self. The idea that Eugenie would not see my representation of her encouraged me to portray her as sensitively and transparently as possible, valuing all the time we spent together. In the end though, I could not help but make a body of work that is primarily my own emotional response to her adaptation. The work is a truth, whether it is hers, mine, or a blur of both.’

Untitled (from the series 'Eugenie')

‘Through her own strength and the help of The Haringey Phoenix Group Eugenie’s condition has improved considerably, but her permanent visual damage and memory loss means she still struggles with the changes she has undergone.’

Untitled (from the series 'Eugenie')

Untitled (from the series 'Eugenie')

‘In one sense her life has become complicated, vulnerable and overcrowded with frustration. In another it is simple, repetitive and monotonous, an oiled routine. Either way it is far removed and excluded from the society she first lived in, with its warped ideals of beauty, strength and heroism. For her it is now a very different way of the same life.’

Untitled (from the series 'Eugenie')

Clare Hewitt is a photographer based in London. After completing a degree in law, Clare returned to university to study photography. In 2011 her work was selected for Fresh Faced + Wild Eyed at the Photographers’ Gallery, and has since been exhibited at the National Portrait Gallery as part of the Taylor Wessing Portrait Prize. She is regularly commissioned by various publications including The Independent Magazine and Oh Comely.

Instagram: clare_hewitt

James O Jenkins