Ed Alcock is a Franco-British portrait and documentary photographer.
In 2022, he was a finalist of the Taylor Wessing Photographic Portrait Prize; his project, « Zones à risque » was selected for the Bibliothèque Nationale de France - Radioscopie de la France; and he secured financial support from the CNAP for an upcoming documentary project.
The intimate, identity and territory are at the heart of his personal projects. His series include Hobbledehoy, with an original short-story by Emmanuel Carrère, Love Lane and The Wait, in which he explores the ravages of a family secret. Following the UK’s decision to leave the EU, Ed Alcock spent four years on the series, See EU later. He returned to his native country to photograph his compatriots and try to understand their reasons for choosing Brexit. In the series Home, sweet home, exhibited at the Rencontres d’Arles, he explores whether one really needs Gallic ancestors to become French. In Sterile, he reveals an aseptic world, in which humour, fears and questions punctuate an absurd daily life during the first lockdown. In the survey article, The ripple effect, published in the online magazine, What's Up, he examines how psychoanalysis has influenced much of his work.
His work has been exhibited at the National Portrait Gallery (London), the Rencontres d’Arles, the Promenades photographiques de Vendôme, the International Festival of Journalism (France), KT&G (Seoul, Korea), the GoEun Museum of Photography (Busan, Korea), Portrait(s) Vichy, Circulation(s), the Festival Photo La Gacilly, the Galerie Château d’Eau in Toulouse, Seen Fifteen (London) and the Lentos Kunstmuseum (Linz, Austria).
Ed Alcock's portraiture and documentary photography is regularly published in the international press: The Guardian, The New York Times, The Guardian Weekend, The Observer Review, The Economist, The New York Times Magazine, Elle Magazine, Le Monde, L’Obs, Télérama, Figaro Madame, Polka Magazine, El Pais Semanal etc. He is represented by the Paris-based Agence MYOP.