This ‘Food for Thought‘ post is for those unfamiliar with Mark Power’s work and will give a variety of links to his projects, interviews, videos and so on. For those who are more interested specifically in ’26 Different Endings’, the following ‘Food for Thought‘ post will focus on this photobook.
Power has an extensive archive of images from a variety of projects, all of which can be found on his excellent website. His work has documented all manner of subjects here in the UK, in Europe and further afield.
A few highlights in the archive are:
- The Shipping Forecast (1993-6)
- Asylum (1998)
- Miyazaki (2000)
- The Treasury Project (2000-2)
- 26 Different Endings (2003-6)
- The Sound of Two Songs (2004-10)
You can find most of the essays connected with Power’s projects, and featured in his photobooks on the Mark Power essay page.
If you are after an interview with the man himself then head over to ‘Photojournalism Love Story‘ to find a solid interview covering a variety of Power’s work and processes.
Over on ‘Ideastap’ Power talks a little about his process and gives advice for aspiring photographers. It is a short piece but a worthwhile read.
If you enjoyed looking at ‘The Shipping Forecast‘ then the video below gives a whole new dimension, especially for those who have never heard the foreign language that is the shipping forecast on radio…
He also took part in the Guardian’s ‘Best Shot’ feature and talks about the image below:
Recently Power collaborated with poet Daniel Cockrill to create the project ‘Destroying the Laboratory for the Sake of the Experiment‘, it is well worth a look (video).
Power has also embraced new ways of working and regularly shoots very short moving images, all with a static camera (and silent). They have the same aesthetic feel as his images with the addition of movement. You can check them all out on his Vimeo profile as well as see one below:
And to finish, here is the quote which accompanies Power’s Magnum profile:
“Now that everyone in the developed world seems to own some form of camera, a different space has opened for documentary photographers. It’s a space free from specific events, where there are different expectations, where it is first and foremost about ideas. Now we can all take pictures, with varying degrees of consistency, more than ever before it’s about what we do with photography.”