Chinese foot binding
Close-up shots of people's feet may not be the first choice of subject for a photo project, but Jo Farrell's pictures of the last remaining women in China with bound feet act as both a link to the past and a fascinating portrait of those involved.
Foot-binding is believed to have begun during, or just before, the Song Dynasty in China around the 10th Century, and became widespread within a couple of hundred years. Bound feet were seen as a status symbol for wealthy women who did not need to work, although eventually the practice became widespread.
Farrell writes: "Although considered fairly barbaric, it was a tradition that enabled women to find a suitable partner. Matchmakers or mothers-in-law required their son's betrothed to have bound feet as a sign that she would be a good wife (she would be subservient and without complaint)."
It was not until the revolution of 1911 that the process was banned, yet some in rural areas continued the tradition for decades to come until the bandages were forcibly removed leaving the feet disfigured.
For the past eight years, Farrell has photographed and interviewed around 50 women in rural areas of China, most now in their 80s and 90s, whose feet were once bound.
Tour de France and the selfie
For fans of any sport, close to the action is where you want to be. Why watch from a distance when you can reach out and touch your sporting hero?
For some events, that's not practical - but in others, there has always been a desire to get close, one being the Tour de France.
American always, Scottish forever
On 18 September, voters in Scotland will be asked in a referendum whether they want the nation to become independent from the rest of the United Kingdom. Yet, across the Pond, there are many Americans with Scottish ancestry, something celebrated at California's Highland Games season. Here photographer Stephen McLaren sets out his take on the event and shares some of his portraits.
Despite President Obama's hopes for Scotland to remain in the UK, the Scottish cultural spirit - which includes pipe bands, sword-dancing, tossing the caber and sheepdog trials - is alive, well and independence-minded in California. An annual calendar of around 20 Scottish festivals and Highland Games brings a mix of recent Scottish emigres and those for whom Scotland is an approximate but proud source of their family heritage.
Outlaws on the open road
In the 1960s Danny Lyon photographed the Chicago Outlaws Motorcycle Club, not as a passive observer, but in close, as part of the gang. The resulting photographs capture a subculture from the inside and form one of the defining photographic documents of that time, influencing many photographers who went on to record the decades that followed.
Lyon was born in New York in 1942 and first started photographing in the early 1960s as a staff photographer for the Student Nonviolent Coordinating Committee at the University of Chicago. His earliest photographs were published in a book on the southern civil rights movement, and since then he has continued to produce work that aims to shape and change opinion.
Exploring the George Rodger archive
Photographic archives hold a fascination for photographers and those interested in the medium, not just for the images they preserve, but the background information that goes with them.
One student who has been delving into a number of photographic archives, both online and hard copy, is Kate Green, who, for her course at Coventry University, has focused on the material held in the George Rodger Archive.
Is photography art? Today the answer is simple, indeed photography is more popular than ever and arguably the visual art of choice for the masses, but half a century ago the debate still raged.
In a new book, Photography Today, writer, artist and lecturer Mark Durden analyses more than 500 works by 150 artists from the past 50 years, exploring the impact of various genres, from pop art to documentary.
This week sees the 70th anniversary of D-Day, when Allied forces landed in northern France and began the campaign that would end the conflict in Europe against Nazi Germany the following year. American photographer Daniella Zalcman moved to the UK recently and began a project to make portraits of people who take part in military re-enactment. Here she talks about the work.
When I moved from New York to London in November 2012, I immediately began looking for a photo project that would allow me to get to know the UK. I grew up in the Maryland/Virginia area of the US, where civil war re-enactment is an exceedingly common hobby, and I loved the idea of it — though I found it slightly ironic that most participants' families probably weren't even in America yet during the Civil War.
Photographer Aletheia Casey recently returned to Australia after living abroad for five years and began work on a project looking at the process of reconciliation and apology to indigenous Australians. To mark National Sorry Day in Australia, Casey writes about the work.
Shortly before I left Australia in 2008, the then Prime Minister Kevin Rudd made a formal apology to the First Peoples of Australia and recognised the ongoing trauma and dislocation that the colonisation of Australia has had on the Indigenous Peoples of this land. He also made a specific formal apology for the forcible removal of Aboriginal and Torres Strait Islander children from their homes which occurred from the 1920s until well into the 1970s in Australia.
Photographing the Monaco Grand Prix
On the eve of the Monaco Grand Prix, photographer David Davies reveals what it is like to cover the prestigious motor race.
As a photographer for the Press Association (PA) I have covered all sorts of events, but the Formula 1 Monaco Grand Prix is without doubt my favourite. Other events do not even touch the noise, smells and atmosphere of a couple of hours in May, when the streets of Monaco are lit up by the blur of F1 cars blasting round the principality.
Observing the crowd: Bob Collins
A selection of work by the London photographer Bob Collins is on display in a new exhibition at the Museum of London. The show includes his coverage of major events as well as images of everyday scenes on the streets of the capital. Anna Sparham, the curator of photographs at the Museum of London, writes about the work and picks out a few of her favourites.
For almost 50 years Bob Collins (1924-2002) worked as a freelance photographer, initially as an amateur after World War Two, before turning professional in 1956.