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'There is a strange intimacy to these images: that essential humanity that comes from deep looking.…Duley's identification with his subjects, as well as his eye for the quietly revealing moment, informs 'One Second of Light' from start to finish'.              

-Sean O'Hagan (The Observer, March 2016)

‘One Second Of Light’ is the first extensive published collection of photographs by Giles Duley. Not so much a retrospective as a collection of the stories of those he encountered, it charts Duley’s work over the past decade. From the daily life of street children in the Ukraine, or in the forgotten refugee camps of Bangladesh; the resilience of Acid burns survivors and the fate of former child soldiers years after war’s end - ‘One Second of Light’ empathetically dwells on the long-term effects and quieter, more reflective moments behind some of the most difficult stories of the past decade that the news teams and ‘war photographers’ have overlooked in search of spectacle. So, whilst Duley’s photographs may be created in places of conflict and disaster, they are neither graphic images of ‘victims’ nor purport to be didactic records of events, but are rather intimate moments of life and relative normalcy, scenes that we might all relate to – insightful stories about a shared humanity.



“When putting this book together,” said Duley, “I became fascinated by the question of time. Most of my images are taken at 1/60 sec or 1/125 second, which means when you put this whole collection together, the reality is they only add up to a second of light. A second that gives insight into other lives, but also makes us question how much we don’t see.”

“I see myself as a storyteller, and this book represents my reflections on the most powerful stories I’ve been entrusted with.”

One Second Of Light includes contributions by Gino Strada (founder of EMERGENCY), Melissa Fleming (Head of Communications and Spokesperson for the UNHCR) and writer AL Kennedy. There is also an extensive interview between Giles Duley and Roger Tatley (gallerist and art editor) 

Read Sean O’Hagan’s review in the Observer