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FOR MISHKA Henner, oil represents the beating heart of America. \"The tentacles of the oil industry span the vast territory of its landscape like the arteries of a body,\" he muses. \"It's difficult to imagine the country and the values it exports without it.\"

[Mishka Henner] has looked to abstract expressionist painting for the complex, layered series on show here. In place of Barnett Newman's fields of colour, however, Henner gives us fields of oil and gas. His pumpjack-dotted plains of dusty green and ochre are photographed from space by orbiting satellites, two symbols of US industrial might that he aligns with the dynamism of that country's art movement. In one photo, a spider's web of sandy lines jet outwards across black oil like a gold sun against the night sky. In another, a snowy cloud hovers against deep sea green. However beautiful they are, these images are cautionary, revealing the rapacious growth that can transform the landscape into something resembling a hectic circuit board. skye sherwin

We don't know anything about the people in the photos: their backgrounds, what they were thought to stand accused of, or even whether they were accused of anything. \"The information released in the images doesn't tell us anything,\" says [Mishka Henner]. \"All we are left with is a series of pictures.\" It was easy for Henner to access these pictures, which were widely circulated by police forces online, yet he was struck by their poor quality. \"Thousands were released, yet many were just a blur,\" he says. \"It doesn't help identification. Which begs the question: why were they being released?\" Even when Henner found photos that he could use - re-appropriating them to pose this very question in a piece called \"The Gleaners\" for Granta's spring 2012 issue - he had to make them bigger and add colour. The pictures also stand as a reminder of how wealth and power operate in Britain. Henner notes that the riots came on the back of far greater \"scandals with far bigger consequences for people's lives. What about the people who caused billions of pounds to disappear?\" \"The bankers\" are often a target for popular frustration, yet they remain largely faceless and abstract, despite helping to plunge the world into its biggest economic crisis since the Great Depression. Is justice blind to class? The visibility of these young people - and the invisibility of others - suggests not. *

[Mishka Henner]'s curiosity has led to him being recognised for the environmental value of his work - something, he says he \"never intended\". He has also been shortlisted for the prestigious Prix Pictet award, the world's leading prize in photography and sustainability.

[Mishka Henner] and Lock are two of five photographers contributing work to Our House, an exhibition examining the social consequences of regeneration across the north of England, opening at the Lowry in Salford next month.

Take one series that will be shown in \"Semi-Automatic,\" Mr. [Mishka Henner]'s first solo show in New York City, which opens on Sept. 10 at the Bruce Silverstein Gallery. Called \"51 U.S. Military Outposts,\" it catalogs American military installations throughout the world. Mr. Henner was struck by the perversity of so-called secure bases being so visibly exposed. He includes the location of each base by city and country as evidence of its accessibility. (A clothbound edition of \"51 U.S. Military Outposts\" consists of 51 separate prints.) \"It was a playful gesture at first,\" Mr. Henner said of \"51 U.S. Military Outposts,\" explaining that he had based the idea initially on Ed Ruscha's \"Twentysix Gasoline Stations\" (1963) or \"Thirtyfour Parking Lots\" (1967), deadpan inventories of suburban banality. Documenting the numbers of military bases, however, became a typology of American global hegemony. Mr. [Quentin Bajac] said MoMA's exhibition \"is about the overwhelming presence of images, but also the many different forms a photo image can take,\" explaining that \"Astronomical\" fits right in as \"a book made of found images, where you can follow that iteration from the screen of the laptop back to paper.\" He added that Mr. Henner's poetry and humor make obvious the limits of the photograph as a document: \"You do not actually see anything, and yet he proposes another, more meditative experience.\"

SALFORD MUSEUM & ART GALLERY: IAN MCKAY: Chapel Street: Then & Now: Explore the changing face of Salford's Chapel Street, at this new show by local artist Ian McKay and Chapel Street Community Arts. Incorporating watercolour painting, photograph and mixed media works, the exhibition celebrates DC Thomson, the publishers based on Chapel Street who produced the Beano and the Dandy, looks at how the area has changed, and imagines what the current redevelopment work might bring. Mon-Fri 10am-4.45pm/Sat/Sun 1pm-5pm, starts tomorrow, runs until October 12. Peel Park, The Crescent, Salford (salfordcommunityleisure.co.uk/0161 778 0800). NEO - GALLERY 22 IN TIME OVER TIME:'Repetitive' is perhaps the best way to describe Neo:Gallery 22's latest exhibition - don't worry, though, it's intentionally so.

If one were to select two more recent trailblazers, the names Stephen Gill and Alec Soth spring immediately to mind. Gill, a London-based photographer, created a small imprint, Nobody Books, in 2005 \"to exercise control over the publication of his books\" and \"to make the book a finished expression of the photographs, rather than just a shell to house them in\". To this end, his most recent book, Coexistence, is a thing of great beauty: an edition of 1,500 divided into six mini-editions of 250, each housed in a different marbled cover. Soth, a Minneapolis-based Magnum photographer, now also has his own imprint, Little Brown Mushroom. Through it, he publishes his own work and that of other like-minded maverick souls in book, magazine and newspaper formats. \"I decided to use Little Brown Mushroom as a way to publish narrative photography books that function in a similar way to children's books,\" he said in a recent interview. \"Little Brown Mushroom isn't a real business. It is a hobby. My only goal is to satisfy my own particular interest at a given time.\" [Mishka Henner]'s preferred model of self-publishing is print-on-demand. \"The fact that a book is printed only when someone asks for it keeps the numbers down to the level of a cottage industry, which I'm happy with.\" He describes the self-publishing process as \"painstakingly laborious because every design element is considered and becomes part of the work\". Does he think the self-published artist's book is more suited to conceptually driven work than documentary? \"I don't see such a clear-cut distinction between the two categories. Documentary photographers are making conceptual decisions every step of the way. Perhaps they're not as aware of them as a conceptual artist might be, but it's wrong to assume documentary photography is some kind of fixed, stable activity that denies self-reflection. When it comes to making books, artists have a head start over photographers by several hundred years, so it's maybe not surprising they're ahead of the game.\" Henner currently has a survey show at Open Eye in Liverpool as well as the imminent Deutsche Borse exhibition (opens Friday at the Photographer's Gallery in London). How difficult has the transition from book to gallery been? \"I'm now working on ideas that should be seen big and the gallery is ideal for that. The show that's now on at Open Eye came at just the right time, when I'd finished working on some large print pieces relating to oilfields and the beef industry in the US. I can't produce a book that conveys the scale of the subject I'm representing with those projects. As for my existing books, in my mind the content always existed at different scales beyond the page. I'm not precious about working only with books. Exhibitions are opportunities for taking the work into other territories.\" Finally, was he surprised at the often outraged reactions Less Americains provoked online? \"I can't predict what the reception to any of my projects will be. In hindsight, I now realise it doesn't take much to upset photographers. Many of them are baying for blood the moment anyone threatens their understanding of the medium. With Less Americains, I made new work out of the old but looking at people's reactions, you'd think I'd desecrated a holy text.\"

So it does, too, in the selection of Chris Killip's black-and-white photographs of working-class life, mostly shot in the British north-east during the 1970s and early 1980s, although the earliest was taken in Killip's native Isle of Man in 1973. Farm workers load a threshing machine. There's a pair of dogs, and winter sunlight, men with pitchforks and filled sacks being tied. We could be looking back a hundred years. It's 30 years since he took these photographs, and Killip probably doesn't need a prize. But despite the decades, we still live like this. Not everything is digitised or snapped on Street View. He should win because his work is still valuable. Much of the other work here won't be, in 30 years' time. Captions: Funny and mordant . . . from left, Queen's Silver Jubilee celebrations, by Chris Killip (1977); part of Cristina [De Middel]'s series The Afronauts (2011); a sex worker in a series by [Mishka Henner] (2011); and one of [Adam Broomberg] and [Oliver Chanarin]'s war collages set to epigrams from [Bertolt Brecht] (2011)