Ed Alcock is a Franco-British documentary and portrait photographer, born in 1974 in the UK. After obtaining a PhD in mathematics, he moved to Paris to begin his photographic career as a correspondent for The Guardian and The New York Times, covering France, Europe, North and West Africa.
He now collaborates with the international press: 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.
The intimate, identity and territory are at the heart of his personal projects. His series include Hobbledehoy (published by Terrebleue, 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, in partnership with Le Monde. 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 2022, he was a finalist of the prestigious Taylor Wessing Photographic Portrait Prize; his project, « Zones à risque » was selected for the Bibliothèque Nationale de France; and he secured financial support from the CNAP for an upcoming documentary project.
His work has been exhibited at the National Portrait Gallery (London), 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).
 Hobbledehoy. Ed Alcock, with a short story by Emmanuel Carrère. Éditions Terre bleue (2013);
 Love Lane. Ed Alcock. Autoedité (2015);
 Family/family. European Prospects (2015);
 Home, sweet home. Ed Alcock. Myop Éditions (2018).
 Time/Lapse. Myop Éditions (2019).
 Sine Die. Myop Éditions (2020).
 The map is not the territory. GoEun Museum of Photography (2022).
 Hobbledehoy, Myop in Arles, during the Rencontres d’Arles (2014);
 Hobbledehoy, Monat der Fotographie, Berlin (2014);
 Family/family, (with Julien Magre, Ilka Kramer and Arja Hyytiäinen), Galerie Chateau d’Eau, Toulouse (2015);
 The Wait, Seen Fifteen Gallery, during Photo London, (2015);
 Love Lane, Myop in Paris, during Paris Photo (2015);
 Rabenmütter, (with Tina Barney, Louise Bourgeois, Larry Clark, Rineke Dijkstra, Lucian Freud, Gustav Klimt etc), Lentos Kunstmuseum, Linz (2015-2016);
 Entre chien et loup, Festival Photo La Gacilly (2017);
 #Stéphanoisfiers, Quartier Manufacture, Saint-Etienne (in partnership with La Comedie de Saint-Etienne et l’EPA-SE (2017);
 Entre chien et loup, Festival Photo Baden (2018);
 Home, sweet home, Myop in Arles, during the Rencontres d’Arles (2018);
 Home, sweet home, Festival Circulation(s) (2019);
 Entre chien et loup, Myop in Arles, during the Rencontres d’Arles (2019);
 Home sweet home, (with Martin Parr, Gillian Wearing, Edmund Clark etc), Les Rencontres d’Arles (2019);
 Ombres et lumières, Galerie Nicolas Silin, Paris (2019);
 See EU later, Festival Portrait(s) Vichy, (2020);
 Back to Black, Myop in Arles, during the Rencontres d’Arles (2021);
 Sterile, International Journalism Festival, Couthures-sur-Garonne, (2021);
 See EU later, Les Promenades Photographiques de Vendôme (2021);
 Entre chien et loup, NOP Grand-Est, Nancy (2021);
 Back to Black, Stimultania, Strasbourg (2021-2022);
 The map is not the territory, GoEun Museum of Photography, Busan, Korea (2022);
 Notre Dame, Fisheye Gallery, Paris (2022).
 Travel notes from a disunited kingdom, Myop in Arles, during the Rencontres d’Arles (2022);
 The map is not the territory, KT&G Gallery, Seoul, Korea (2022);
 Taylor Wessing Photographic Portrait Prize, National Portrait Gallery, Londres (2022);
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