Eamonn Doyle: END.

Revealed the Rencontres d'Arles, the Irish deserter from the electro scene has a striking facility centered on passersby on the streets of Dublin.

"And the winner is ..." The Rencontres d'Arles establishes no record.But if that were the case, no doubt qu'Eamonn Doyle would have won the bet: Most Promising Actor, Best Director, Best Set Design, Best Original Score (yes, even for a photo exhibition, it is the size!)

The Arles photography festival has been in transition for several years, looking forward to the medium’s exciting but uncertain post-digital future while also looking back at its past. This year, there are homages to veterans such as Don McCullin, Sid Grossman and Peter Mitchell, but much more work that questions the very idea of old-fashioned observation.

One of the themes of this year’s festival is street photography, then and now. Irish photographer Eamonn Doyle creates a buzz with an installation that uses sound, drawing and design to emphasise the looming presence of his powerfully up-close and intimate photographs of Dublin people going about their daily business. Here, with every wall filled with images, some toweringly big, some gathered in grids, it is as if Doyle and his collaborators have created their own Dublin of the imagination – one the viewer has to negotiate from various different and often surprising perspectives, as if visiting a strange city for the first time.

For most people, the street outside their house is just a road they use to navigate their journeys to and from home. But in the case of Irish photographer Eamonn Doyle, the street outside his home in central Dublin is his realm of exploration. After an engaged rereading of playwright Samuel Beckett’s works, Doyle decided to delve deep into what he was most familiar with and find within that, a range of photographic subjects that would reveal to him the street in all its poetry and starkness.

While photography has opened the door to exotic, far-flung locales, for some, inspiration hits a little closer to home. Take the Irish photographer Eamonn Doyle, who has had to look no further than his doorstep for his first solo London exhibition at Michael Hoppen Gallery, entitled ‘End.’ – the third and final chapter in a series of projects exploring the multi-cultural, working class area of north Dublin’s Parnell Street.

Born in Dublin in 1969, Doyle began photographing around the city centre in the late 1980s, before embarking on a hiatus a decade later in order to concentrate on music production. He returned to photography in 2008 after a reflective period of rediscovering Samuel Beckett’s writings.

Until two years ago, the photographer Eamonn Doyle, whose new work “End.” goes on show at London’s Michael Hoppen Gallery this May, was not known for his photographs. After graduating art college in 1991, he founded a record label and a festival in his native Dublin, immersing himself in the local music scene for almost 20 years. It was after the economic crash in 2008 that, feeling burned out and in need of a change, he bought a camera and began to photograph life on the streets around his home.