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Jocelyn Bain Hogg’s book projects confirm his authorship and personal identity as a photographer. Four volumes are published to date; The Firm, an intimate four year journey into the dark heart of violence documenting the British criminal underworld.  Idols + Believers, a decade long examination into the unhealthy obsession with fame and celebrity and its palliative effect in our troubled world.   Pleasure Island, depicts the age-old tradition of  hedonism in Ibiza via the Summer festival of Ibiza Rocks. The Family, published in December 2011, looks at Britain's new underworld, ten years on from The Firm through the eyes of the Pyle family.  A British Entertainment, instigated by shirt company Thomas Pink, charts the modern version of the traditional British 'Season' and was published in May 2012 where Bain Hogg has cast his eye on the UK class system at both private and public events throughout 2011.

The book projects, tracing our desires and aspirations in the so-called ‘First World’, continue with Tired of London,Tired of Life, a collaboration with artist Paul Davis.  Tired of London, Tired of Life is a personal view of city life in London through its denizens (the title derives from Samuel Johnson's famous quotation from 1775 about the city  -  "..For when a man is tired of London, he is tired of life.." ). 

Although primarily a documentary photographer, portraiture plays a strong role in his output. Portrait projects include Muse and White Room. The former, a  series of close-up images of friends and family, is a retort to today's cosmetically enhanced and packaged beauty industry which adapts British writer J.G. Ballard's premise that real beauty is the square inch of skin first seen on waking up next to the one you love.  White Room is an occasional foray into non-environmental portraiture. A white bed sheet, tacked onto a convenient wall and lit with portable flash-heads at gigs, parties and nightclubs acts as a studio.  Punters, pop-stars and party-goers are democratised by virtue of a speedy performance in a contained, white space. 

Meanwhile he is busy working on both editorial and commercial assignments with several projects in progress on our society

Bain Hogg feels  that  there is much  to document in this era of increasing control of our personal freedoms, the rising disparity between rich and poor and the fallowness of our eroded, 'dumbed-down' culture. These exigencies coupled with a dearth of photojournalism in our publications (seemingly in direct proportion to the rise of 'lifestyle', cookery and celebrity) and the shift towards 'conceptual' photography in the gallery world, are all providing exciting challenges to the documentary photographer.

Rising to these challenges, his mission continues, yet remains the same; to attempt to provide unflinching, intimate evidence of our world and its people with humanity, integrity, honesty and humour.

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