Co-Founders of the Fair, Michael Benson & Fariba Farshad, comment on Photo London 2023:

“When we started Candlestar we could not have imagined that exactly twenty years later we would be announcing the eighth edition of Photo London or indeed that the Fair would have become a key component of the international artworld calendar. Yet it has, and our eighth is our strongest edition yet with a dazzling array of photography in all its forms. As ever there’s a multiplicity of themes — from a celebration of British photography (for obvious reasons) to a focus on photography from Iran and Mexico; from the work of the early pioneers and masters of the form, to images made by a brash new wave of artists who are embracing the possibilities of new technology with the same experimental zeal that characterised the work of those early pioneers.

“And more than that, we are thrilled to be working with a strong group of partners who are themselves deeply committed to the creative process. Our new principal partner the Royal Bank of Canada has, for example, both a rich tradition for collecting and for nurturing creative talent. Our presenting partner Belmond has — through ‘Fotografía Maroma’ and their recently announced ‘Legends’ programme — already established an impressive pedigree for supporting outstanding photography. Adding to the long term support of the FT and the awards for emerging talent developed with Nikon and Hahnemühle respectively, and with the brilliant Kamiar Maleki stepping into the role of Director of Photo London, it is clear that we have assembled all of the elements required to take the Fair to the next level and to become the undisputed leader in its field.”

This year’s Master of Photography is the legendary British photographer Martin Parr, who presents an exhibition of new images taken in the UK, continuing a project that he has been working on for the past half century. ‘Martin Parr. Recent Works’ includes images that have not been shown before alongside the installation “Beach Therapy” and a dozen photo deckchairs.

Describing this body of work, Parr states:

“I think of these images as an interpretation of the many mixed emotions I feel towards my homeland. It is almost a love/hate relationship, and I find addressing this is almost a form of therapy for me.”