Ed Alcock is a Franco-British documentary and portrait photographer, born in the UK. After earning a PhD in mathematics, he moved to Paris and began his career as a photographer for The Guardian and The New York Times, covering France, Europe, and Africa.

Alcock now works with major international publications, including The Guardian, The Economist, The New York Times Magazine, Le Monde, Elle, and Polka Magazine, among others. He is represented by Agence MYOP in Paris.

His personal projects explore themes of intimacy, identity, and territory. Notable series include Hobbledehoy (published by Terrebleue with an original short story by Emmanuel Carrère), Love Lane, and The Wait, which examines the impact of a family secret. Following Brexit, he spent four years on See EU Later, a project documenting British perspectives on the referendum, in partnership with Le Monde. In Home, Sweet Home, exhibited at the Rencontres d’Arles, he questions whether one needs Gallic ancestry to be truly French. In Sterile, he explores life during the first COVID-19 lockdown, blending humor and existential reflections.

In 2024, Alcock was shortlisted for the Prix Niepce and participated in exhibitions at the Bibliothèque Nationale de France, Musée Niepce, and Hotel Fontfreyde. He was also selected by The Guardian newspaper, to provide their exclusive coverage of the Paris Olympics. In 2022 and 2023, he was a finalist for the Taylor Wessing Photographic Portrait Prize. His project Risk Zones was selected for the Bibliothèque Nationale de France, and he received funding from CNAP for an upcoming documentary project.

His work has been exhibited widely, including at the National Portrait Gallery (London), Rencontres d’Arles, the Promenades photographiques de Vendôme, and internationally at venues such as the GoEun Museum (Busan, Korea) and Lentos Kunstmuseum (Linz, Austria).

BOOKS

[1] Hobbledehoy. Ed Alcock, with a short story by Emmanuel Carrère. Éditions Terre bleue (2013);

[2] Love Lane. Ed Alcock. self-published (2015);
[3] Family/family. European Prospects (2015);
[3] Home, sweet home. Ed Alcock. Myop Éditions (2018).
[4] Time/Lapse. Myop Éditions (2019).
[5] Sine Die. Myop Éditions (2020).
[6] The map is not the territory. GoEun Museum of Photography (2022).

[7] Back to Black, Myop Éditions (2024)

EXHIBITIONS

[1] Hobbledehoy, Myop in Arles, during the Rencontres d’Arles (2014);
[2] Hobbledehoy, Monat der Fotographie, Berlin (2014);
[3] Family/family, (with Julien Magre, Ilka Kramer and Arja Hyytiäinen), Galerie Chateau d’Eau, Toulouse (2015);
[4] The Wait, Seen Fifteen Gallery, during Photo London, (2015);
[5] Love Lane, Myop in Paris, during Paris Photo (2015);
[6] Rabenmütter, (with Tina Barney, Louise Bourgeois, Larry Clark, Rineke Dijkstra, Lucian Freud, Gustav Klimt etc), Lentos Kunstmuseum, Linz (2015-2016);
[7] Entre chien et loup, Festival Photo La Gacilly (2017);
[8] #Stéphanoisfiers, Quartier Manufacture, Saint-Etienne (in partnership with La Comedie de Saint-Etienne et l’EPA-SE (2017);
[9] Entre chien et loup, Festival Photo Baden (2018);
[10] Home, sweet home, Myop in Arles, during the Rencontres d’Arles (2018);

[11] Home, sweet home, Festival Circulation(s) (2019);
[12] Entre chien et loup, Myop in Arles, during the Rencontres d’Arles (2019);

[13] Home sweet home, (with Martin Parr, Gillian Wearing, Edmund Clark etc), Les Rencontres d’Arles (2019);
[14] Ombres et lumières, Galerie Nicolas Silin, Paris (2019);
[15] See EU later, Festival Portrait(s) Vichy, (2020);
[16] Back to Black, Myop in Arles, during the Rencontres d’Arles (2021);
[17] Sterile, International Journalism Festival, Couthures-sur-Garonne, (2021);

[18] See EU later, Les Promenades Photographiques de Vendôme (2021);
[19] Entre chien et loup, NOP Grand-Est, Nancy (2021);
[20] Back to Black, Stimultania, Strasbourg (2021-2022);
[21] The map is not the territory, GoEun Museum of Photography, Busan, Korea (2022);
[22] Notre Dame, Fisheye Gallery, Paris (2022).
[23] Travel notes from a disunited kingdom, Myop in Arles, during the Rencontres d’Arles (2022);
[24] The map is not the territory, KT&G Gallery, Seoul, Korea (2022);
[25] Taylor Wessing Photographic Portrait Prize, National Portrait Gallery, Londres (2022);

[26] The Taylor Wessing Portrait Award 2022, Scottish National Portrait Gallery, Edinburgh (2023) ;

[27] They were but a few, MYOP x Les Rencontres d’Arles (2023) ;

[28] The Taylor Wessing Portrait Award 2023, National Portrait Gallery, London (2023) ;

[29] La France sous leurs yeux, La Bibliothèque Nationale de France (2024) ;

[30] Demain est un autre jour, Musée Nicéphore Niepce in association with the Bibliothèque Nationale de France (2024) ;

[31] La France sous leurs yeux, L’Hôtel de Fontfreyde - Centre Photographique, Clermont Ferrand, in association with the Bibliothèque Nationale de France (2024).