Introducing Light into Matter and Out of Dust.

Twenty five MA students from the University of Westminster will soon showcase their degree projects in central London. The show takes place from Wednesday 23rd August to Tuesday 5th September at Ambika P3  University of Westminster, 35 Marylebone Road, London, NW1 5LS and is open from 12-7pm daily, (closed on bank holiday Monday August 28th).  An accompanying symposium, On the Cusp, will take place on Saturday 2nd September 4-6 p.m.  Links with all the details you might need are below.  

There are two exhibitions within the MA show:

Light into Matter, an exhibition by the Photography Arts course students, presents richly eclectic and striking visual practices pointing to possible futures and histories of photography.  These practices emerged from extended research into: lost utopias; emotional abuse; London’s edgelands; living with radioactivity; subjective studies of Hastings; and modelling dancers’ movements.

Out of Dust, is the exhibition by Documentary Photography and Photojournalism students, whose projects advance photography as an exciting and developing medium.

The On the Cusp symposium debates Richard Mosse’s Incoming Exhibition. Sitting on the cusp of art and documentary, Mosse’s work raises pressing questions about the roles of representation, aesthetic values and representation. Speakers include Lewis Bush, Duncan Woolridge, Joy Gregory, Lucy Soutter and David Moore. Symposium tickets are £5 and are available from Eventbrite.

Find out more from the students’ social media sites:

Rebecca Vassie Memorial Award 2017

We're very excited to bring you news of the second Rebecca Vassie Memorial Award which launched this week. We covered the first award last year and were very pleased to hear the award went to one of our very own featured graduates, James Allen. We're looking forward to finding out more about James' new body of work soon.


Find out more about entering your work here.

Submissions open for second annual Rebecca Vassie Memorial Award, photography bursary worth £2,400.

The award comprises a bursary of £1,250 for an early-career photographer in the UK to complete a photography project, plus £1,150-worth of printing at Metro Imaging and support towards industry and public exposure.

Judges for the award include Karen McQuaid, senior curator at the Photographersʼ Gallery, Matthew Tucker, UK Picture Editor at BuzzFeed, Professor Steve Macleod, photographer and creative director at Metro Imaging, and photography critic Jennifer Thatcher (Art Monthly, ARTnews).

The award was created in memory of Rebecca Vassie, a British photographer and photojournalist who died suddenly, aged 30, while on assignment in Uganda in March 2015.

Rebecca Vassie - Factory, Pyestock

Rebecca Vassie - Factory, Pyestock

Applicants for the award, who must be either from or based in the UK, are asked to submit a proposal setting out a compelling vision for a photography project around ʻa human story we seldom seeʼ. The deadline for submissions is Friday, 2 October 2017 at 1700 BST.

Last yearʼs winner, James Arthur Allen, has recently returned from Israel where he spent time among the little-known ethnic Circassian population. The Israeli Circassians are at once strongly protective of their heritage, and closely 1 of 4 integrated into Israeli society; they are among the only Muslims in the Israel Defense Forces. The resulting photography set, ʻAdiga: Circassians in Israelʼ, will be exhibited by the Trust at The Tabernacle Gallery, in Londonʼs Notting Hill, 11-17 December 2017. The work will also feature in an Instagram takeover for The Photographersʼ Galleryʼs next week (24-29 July) ‒

James Arthur Allen - Adiga- Circassians In Israel (2017)

James Arthur Allen - Adiga- Circassians In Israel (2017)

James Arthur Allen said: “Winning the Rebecca Vassie Memorial Award has enabled me to take an idea and realise it as a formed project. The Trust has been supportive at every stage, and the experience has been hugely beneficial. Since winning the inaugural award, many more doors have opened and led to further opportunities to develop my career.”

Twitter: @vassietrust

Instagram: VassieTrust


On the Radar: June 2017

Welcome to Photograd's brand new 'On the Radar' blog series. On an irregular basis we'll bring you some interesting stories and events from the photography industry. If you want to feature in the next post, simply email us using the heading 'On the Radar' with your information and we'll squeeze in the most exciting stories.

Starting Out: Conference for Photography Graduates

10:30am – 5:00pm, Tuesday 4th July

Direct Photographic, 200-202 Hercules Road, Lambeth, London SE1 7LD

FREE for AOP members, £5 for non-members (booking essential)

Another fantastic one day conference specially tailored for those embarking on a career in photography. You’ll hear from a great panel of speakers sharing their knowledge to help you make that leap to assisting photographer and beyond into professional photography.

Speakers include:

Cassie Gale from Lisa Pritchard Agency, Cassie will talk about how photographer’s agents work, how you might get an agent, and explain what LPA Futures is all about

Top advertising photographer and AOP member Kelvin Murray will talk about his staggering career and life as a photographer

Emma Taylor AOP Membership Officer and creative consultant will give some practical advice for emerging photographers on how to market yourself

AOP Assisting Photographer member Will Corder will talk about his experiences as an assistant, stories of starting out in his career, explaining the dos and don’ts and everything he has leant along the way

AOP Business and Legal Advisor Nick Dunmur will explain copyright and how to protect yourself as a photographer

Please join us, booking is essential: 


Sian Oliver, Norwich University of the Arts graduate, 2016

Sian Oliver, Norwich University of the Arts graduate, 2016


Millennium Images, Peaches and Cream


Peaches and Cream is a photography competition and exhibition run by Millennium Images. This year the competition seeks more then ever to celebrate the photographic arts, with a key focus in showcasing emerging photographers.

Click here to find out more and how to make a submission - entries open until 31st July.

Artist Talk: Martin Seeds

Assembly installation image, Martin Seeds

Assembly installation image, Martin Seeds

University of Brighton graduate Martin Seeds, featured on Photograd here, is talking at Phoenix Brighton on Monday 3rd July. Martin studied in the city and has exhibited at Brighton Photo Fringe a number of times.

Click here for event details.

Khadija Saye Memorial Fund

Khadija Saye

Khadija Saye

Khadija Saye very sadly lost her life in the Grenfell Tower fire in London earlier this month. Some of you might only know of Khadija from this tragic event, but we encourage you to read about the up and coming photographer. She's a real inspiration.

“Khadija was a true artist with a sensitive and generous singular vision, and will be missed by everyone who knew her. We have been inundated with messages of love and support over the last few days. 

On behalf of all of us involved in Khadija's Saye's life as an artist, we are setting up this Fund in memory of Khadija, to help others like her to pursue their passion as artists. In due course, we will establish a formal Fund and will make a decision together with those involved in Khadija's journey as an artist, and with professional partners within the cultural sector, about the best way to channel these donations for this cause. 

We will keep all donors informed of future developments. Thank you for your support.”

Click here to make a donation and find out more about the fund.

Free Range 2017 - Photograd Picks

Photograd visited Free Range again this year and on our wonder round the space we selected a number of new graduates whose work really stood out. Here's our final selection. Enjoy.

Ben Stewart, Nomad. Matthew Mottram, Gaze. Harriet Foster-Thornton, Still-Hunting.

Ben StewartNomad. Matthew Mottram, Gaze. Harriet Foster-ThorntonStill-Hunting.

John Mullaney, Plymouth College of Art

John Mullaney, Plymouth College of Art

Sam Lyne, Plymouth College of Art

Sam Lyne, Plymouth College of Art

Mert Sezer, Medway. Middlesex University.

Mert Sezer, Medway. Middlesex University.

Arabella Bidgood, Copelands. Middlesex University.

Arabella BidgoodCopelands. Middlesex University.





Sam Edrisi, The Stage. University of Westminster.

Sam EdrisiThe Stage. University of Westminster.

Gökhan Tanriöver, Confessionals. University of Westminster.

Gökhan TanriöverConfessionals. University of Westminster.

Pop My Mind: An interview with Francois

Photograd were recently made official partners of Pop My Mind and we're working with the team again to bring you an exciting new theme. You can find it here.

To give you more of an insight into Pop My Mind we've interviewed some of the more photographic based users on the platform. We reached out to Francois this time around who is influenced by the everyday.


Tell us who you are. Where do you live and make work? My name is Francois and I am Italian. Right now I'm living in Germany/Hamburg.

Have you studied a creative subject? What are your thoughts on doing so? I started with graphic design but was not really happy with it. I would like study art history as it is a field I am interested in. Do I need to study something in the creative field? I'm not sure about it, it depends. It could help you to meet others and discuss ideas maybe.

What sort of work do you make? I just do strictly photography. Whatever catches my interest from street photography, sport or landscape.

What do you use the Pop My Mind platform for? Pop My Mind is a good platform to show your work and get inspired by other artists.

What's your biggest inspiration? My biggest inspiration is everyday life, watching people. I also tend to read a lot fiction, non fiction, magazines, philosophical books, visit exhibitions and so on. I can get also inspired just by the weather or a situation I see. 

What are your thoughts on sharing your work with a wider audience? Have you got any advice? It is good to share your work because frankly spoken, this is why we do it. Get a reaction (bad or good) and discuss your work and make new connections and generate ideas. It is not so much about followers or likes. I prefer comments where they tell me what they see or feel, or what impressions they have. My advice would be to not care too much about the statistics on Instagram and Co (likes, …) as every personal contact is more important.

Give one tip you think every creative should follow. Gosh one tip. I am still a beginner but my advice is do it for fun and follow your passion. Learn the rules but break them if you have the funny feeling you want to experiment. You will learn from every mistake you make. Oh yes, do not wait until you think you're ready.

What are your plans for the future? This summer I will be travelling and taking photos and then applying for university. I have some projects in mind that I would love to do this summer and go from there. As I love photography I am doing everything right now to develop and get more opportunities to undertake new work and projects.

An Interview with Pop My Mind

As you know, Photograd are working with Pop My Mind again on a brand new, exciting challenge. Head over to their platform to read more about Creativegrad which will be officially launching soon.

To give you more of an insight into Pop My Mind we've interviewed the team. We hope you enjoy the read.

Who are you, what's your motto? We are a powerful art community creating stunning content that will make you POP! In other words, we are a collective of creative people from around the world who like to experiment and create new, engaging pieces of work in response to each other’s work, current topics and for larger projects.

What's your creative style? As a company, we are all about authenticity – all the work we create is genuinely influenced by something else on the site, and is made by real people who love what they do (and are great at what they do)! There are so many of us in different disciplines – artists, writers, photographers, musicians, film makers – that we don’t have an overarching style. But it is this diversity that makes our community so powerful, and why the work we make is so unique.

Can you tell us what Pop My Mind is? We are an organisation built around an online community of hand-picked artists and creatives. Brands, agencies and festivals can hire us to use our platform and challenge our community to produce dynamic new work in response to their products and brand. This work is completely bespoke and can be used in all sorts of ways to help them stand out from the crowd.

What were the initial aims for the platform? We are always trying to expand our community and get more people working with us on exciting projects. Our aim is for a good percentage of our community to be able to earn a living income through us from doing the creative projects which they love to do!

What’s your biggest achievement to date? I think getting our first client was a pretty exciting day for us. That was the point when we knew that we had the potential to do something really great for our community who have been so supportive, enthusiastic and involved in our organisation from the beginning. We also realised the power that creative content has, and that it can be used in such a wide variety of applications to make an unforgettable impression on an audience.

What do you look for when accepting new users onto the platform? We look for people who experiment and explore in their practice, who have creative ideas and make inspirational work. We also like their work to have a distinct or recognisable style, and we’re always interested to see how people engage with fellow artists and take influences from different sources. That’s what we’re about after all! 

What does Pop My Mind provide its users? Our community receive access to exclusive opportunities to expand their practice and creative careers, such as being included in group exhibitions and events, getting online and real-life exposure, and earning money for the work they produce.

P.S. we always get asked this, but there is no catch! It is our honour that creatives want to join our community and so being part of it and accessing our opportunities is completely free.

How can people get involved? Being part of Pop My Mind is simple – you just have to visit, pop us an email and we will be in touch with you to say hi. 

Give one tip to new creative graduates. Meet as many other creative people as you can - listen, share, and get inspired! Getting a network of like-minded people around not only gives you a great support system, it means you are constantly presented with fresh ideas and new perspectives, which is essential for developing your ideas and methods.

Also, take as many opportunities as you can. It can be so difficult to make a name - or a living - for yourself in the creative industries, but that first foot in the door is all you need.

And you know where to look for both of those… 

What does the future hold for Pop My Mind? Well that would be telling! We’ve got some exciting things on the horizon including our Think Travel project with spoken word artist Roseanne Ganley, which aims to combine travel and creativity to understand and promote mental wellbeing. 

We’re also currently in conversation with some trendy businesses and setting up creative projects with them that our community can really dig their teeth into. However, details on these have yet to be announced… stay tuned for more!

Introducing Spectrum Photographic Graduate Discount!



The wonderful team at Spectrum Photographic are now giving 20% graduate discount 🎉

Up until the end of the year that students graduate, 20% discount is applied, and for the year following, 10% discount is applied. All you need to do is sign up via Spectrum's Student Page, or head over to their website for more info.

A must for all soon to be graduates!

Pop My Mind: An interview with Sat Biswas.

Photograd were recently made official partners of Pop My Mind and we're working with the team again to bring you an exciting new theme. You can find it here, but we'll be officially launching it soon.

To give you more of an insight into Pop My Mind we've interviewed some of the more photographic based users on the platform. First up is Sat Biswas who describes himself as a visual storyteller with inspiration arising from film and poetry. 


Tell us who you are. Where do you live and make work? My name is Sat Biswas. I am a 40 year old visual storyteller based out of Mumbai, one of the largest metropolises of India. Though i make my living out of IT based Consultancy, most of my time is spent in documenting life and living around me using photography as a medium.  

Have you studied a creative subject? What are your thoughts on doing so? I have studied Comparative Literature. Though I have not studied specifically Art as a subject but my career began with an Advertising agency as a copywriter. Now these two elements have shaped my understanding on Art & Aesthetics. It has helped me effortlessly swim through all the creative genres and lends me an ability to compare and compose. I am greatly influenced by Poetry and art of Film Making. 

What sort of work do you make? I specialise in Photography and Mixed Media Art. Photography was a way to explore my lonely childhood and tumultuous boyhood, until it became a sacred part of my expressions and existence. I love depicting the smaller visuals of life and narrating the finer aspects of the abstracts around me. Stylistically, I am deeply influenced by “Lyrical Abstraction.”

What do you use the Pop My Mind platform for? I use Pop My Mind to think, compare and create from a diversified pool of creative and comparative Art. I believe that this is the only platform which gives an opportunity to all the creative genres to come together and create a unique Expression of Art and Aesthetics. And that is quite exciting. 

What's your biggest inspiration? I take a lot of inspiration from Poetry and Art of Film making. But I think my biggest inspiration is my differently able daughter, Ira. Her disability to communicate in her initial days of childhood made me resort back to photography and try to use it as a medium of expression and communication between us. And through her a whole new world has opened in front of me. 

What are your thoughts on sharing your work with a wider audience? Have you got any advice? I have never thought about it actually. Photography for me is a very private, individual journey and a sort of much needed therapy to spring back to life from the mundane. I have been told to share my work for numerous competitions but somehow I did not feel the urge for that. Maybe I am fearful to open up my expressions for a review by the wider audience.

Give one tip you think every creative should follow. Frankly I am not sure. For me either you are creative or you are not. And if you are creative then you would always have your own individuality and your way and manners to express. That workflow of ingenuity is creative for me. But if I have to give one suggestion then I must say that one should never cease to become ‘curious’. 

What are your plans for the future? I have no larger plans. I just have a few environmental and social projects in mind and I'm trying to arrange funds such that I can go for it. These will be long projects in the remotest environment which will require a deeper study to understand and subsequent document.

Photograd Experience: Joanne Coates at Photo Scratch

LCC graduate Joanne Coates is a firm supporter of Photograd and we've caught up with her again to find out about her experience of speaking at Photo Scratch. We hope you find some inspiration from Joanne's write up!

From the series We Live By Tha’ Water

From the series We Live By Tha’ Water

Introduction: I am Joanne Coates, a photographer born and raised in rural Yorkshire and working internationally. I am based in the North of England after completing a BA (Hons) Photography degree at LCC London in 2015. My interest lies more with a visual prose, an appreciation of rurality. I identify with the marginalised, the edges. I have a democratic and poetic approach to what can be termed as the medium of "photography". Inspired by everyday stories, landscape experiences and Northern Realism. 

From the series We Live By Tha’ Water

From the series We Live By Tha’ Water

Experience: On Monday 24th April I took part in my first Photo Scratch. I had seen the event shared on social media. The night saw works-in-progress from several photographers, myself included exhibited across Hotel Elephant. Each project had a feedback box, attendees left feedback on the projects. Photo Scratch is a supportive evening for working photographers and bring with us our experience and understanding of the documentary photography and associated industries. Founded and ran by LCC Masters graduates Phil le Gal and Hanna-Katrina Jedrosz.

From the series We Live By Tha’ Water

From the series We Live By Tha’ Water


As I live in a rural area, and spent much of time working in different areas around the UK, it can be difficult to actually talk to anyone about my work. I’ve been working on this series since March 2016 now and felt as though it was a good time to talk about it, discuss ideas, and get feedback. It’s important to see how people interact with your work. I found the experience was especially helpful. 

Work: We Live By Tha’ Water is a story. A story that toys with what we accept as real and what we accept as imagined. It is an exploration of a new life after a diagnosis of Bipolar disorder. A dark narrative that explores life on the edge lands of society. A complex visual culmination of personal anxieties and mental erosion. A drawn out fascination with power relations. It is a poetic and emotional response to the eerie elements that make up modern societies. Slowly as the story continues the boundaries begin to warp and fade. What is real and what is imagined start to blur. The island is used as a new place for the in-between. To question what is actually visible and what is known. A place between madness and sanity. Travelling to the edge of the world to explore my own subconscious.  As the Orcadian writer George McKay Brown wrote “The imagination is not an escape, but a return to the richness of our true selves, a return to reality."

From the series We Live By Tha’ Water

From the series We Live By Tha’ Water

The work itself is taken in moments of mania or moments of depression. Photo scratch offered me the chance to start bringing in other elements of the work such as search warrants, diary entries that depict the story, and pieces that tell the story of a decline in mental health. I’ve always been interested in documentary photography, but wanted my personal work to be a documentary of the self. To challenge the ways in which work. There is more to come in the series that will explain the journey more, where the viewer begins to lose sight of what is true and what isn’t. Beginning to realise if that truth matters or not in such a personal depiction. 

Future: I will be working on the series for the next year. The work best suits a book format but again I am taking my time with this project. 

From the series We Live By Tha’ Water

From the series We Live By Tha’ Water

Outcome: I would recommend Photo Scratch for working graduates. I think times are hard, and options are limited for those who can’t afford to do masters and that isn’t spoken about. The photography world seems to take it for granted that opportunities are equal and level, which they aren’t. Groups like Photo Scratch level that field supporting those who are taking risks and working in photography despite circumstances. There was a broad range of projects, no matter what level you are, you can always benefit from the advice of other minds. The night was really inclusive, and open. I love the idea of pop-up shows and happenings. My advice would be to apply to speak to Phil and Hanna.

If you would like to take part in a future Photo Scratch you can apply by emailing Phil or Hanna-Katrina

Photograd Experience: Scott Charlesworth at LAW Magazine

Falmouth University graduate, Scott Charlesworth, recently got in touch with Photograd to tell us all about his work experience in the industry since graduating. Scott interned at LAW Magazine and he's here to tell us his thoughts and recommendations. We hope you enjoy.

Scott Charlesworth. A Northern lad at heart but not by nature. A big fish in a one club town. I’m a romantic at heart and see life in details, not just as a bigger picture. The thought of conforming to your stereotypical working class life is something that both haunts and motivates me to produce work. I recall a summer job working in a kitchen joinery factory, a way of life for some friends of mine, and now use this to spur me on within my endeavours rather than admit defeat and fall into, what seemed to be, my destined industrial grave.

I studied photography both at college and university, graduating in 2016 from Falmouth’s BA Hons Photography course. I spent multiple evenings teaching myself photography via YouTube tutorials during my teenage years, enthralled by the technical side of the art form. 

Although Falmouth lacked practical teaching of photography, it did make me appreciate the contextual and historical importance of image making, persuading me to abandon lifestyle and the like-friendly imagery that pollutes modern day social media screens. 

I often found guest lectures at Falmouth disinteresting, lacklustre and void of relevance in relation to the work that I wanted to produce. Then LAW Magazine made an appearance; the theatre was full and there was a general buzz within the audience. They wore white socks with arctic camo, their words were humble and the work was honest. They reinforced everything that I had tried to argue with my tutors which was discarded as naivety and inexperience. Never had a publication or piece of work resided with what I felt I stood for and I was determined to be a part of it, whatever that was. 

LAW Magazine CV (click to enlarge)

Wanting to impress LAW in the same way that they had stunned me, I built my CV with only them in mind. John Holt, the Editor and overall top lad, was quick to accept my application and I began my internship immediately after completing my final year. My first week was spent delivering magazines across London and up keeping the close relationship that LAW has with its stockists. Although it may seem like a menial task, I was just happy to play a part in something that I truly believed in.

As the weeks passed I was slowly trusted with other tasks. My first assignment was to provide contextual references and styling for the much anticipated re-release of the Fila Trailblazer, drawing inspiration from the 90’s acid house scene in which they gained their initial notoriety. Seeing the process go from scribbles on paper to the final images (shot by Theo Cottle) was a surreal process and one, still to this day, that I feel honoured to be part of.

Fila Trailblazer shoot

Fila Trailblazer shoot


Following the success of this project, I was trusted with a string of opportunities ranging from hanging Sophie Green’s Dented Pride solo exhibition, photographing launch events and assisting on multiple occasions; most notably London Fashion Week Mens. 

LAW 9 Launch Image

LAW 9 Launch Image


What became apparent after spending several months at LAW Magazine was the sense of community within each person that associated themselves with the publication. Inspiration could be found in the simplest of conversations and contributors celebrated one another’s success rather than just their own. I had moved to London not knowing anybody and to feel accepted within such a tight-knit group of like-minded creatives filled me with a sense of belonging.

LAW 9 Rave Poster

LAW 9 Rave Poster

Before arriving at LAW I had set myself the goal to have at least one image published within the next issue. As a result of perseverance and willingness to lend a hand regardless of the task at hand, John and Joe Prince (the creative director) trusted me with shooting a major project as part of LAW 9. This collaboration with some of London’s biggest design studios focused on rave posters often found at roundabouts. When the images and my name finally made its way to print, I was astounded by what I had achieved in the time that had passed since LAW initially visited my university. Having the ability to say that I was part of a publication that I hold dear to my heart is my most humbling accomplishment to date and I cannot thank LAW enough. 

Me shooting Rave Posters

Me shooting Rave Posters

Following my seven-month placement, I have returned to The North West of England to pursue a Masters Degree in Marketing with aspirations of starting my own publication.

Photobook Review: 'Coalville Photographed' reviewed by Lucy Bentham

We're constantly thrilled and excited that Photograd has the ability to bring together creatives and form unique collaborations. Graduate and working photographer Chris Mear created Coalville Photographed last year and recently approached independent curator and photographer Lucy Bentham to review the publication.

Here are the results.

Coalville Photographed by Graham Ellis: A series of short films and photographs by Christopher Mear

Self published edition of 25

At first glance, the cover of this book gives little detail as to what might be found within the pages. A series of eight QR codes are neatly arranged above the title suggesting, perhaps, that this book contains a cold, technological study of something, well, cold and technology based. The reality is quite different. 

In fact, the book contains fifty images made by both the author and the photographer he has collaborated with to construct this narrative. Mear has followed a fellow photographer making photographs in his local area in order to become closer to the place and this has resulted in a deeper understanding of both the place and methodology. Initially, this method of documenting place becomes twice removed from the subject as Mear puts himself of the position of the documenter documenting the documenter. I am drawn to this notion in the way that if only we could document ourselves as we undertake a project, our methodologies would be in the spotlight, and what becomes of our chosen subjects?

It is clear, throughout the book, that Mear is continually questioning Ellis about his methods and position as a photographer and vice versa:

‘How much do you want to be an ‘excellent’ photographer? Is it something you want to do or is it something you’re going to do? But what’s the difference?’

Ellis asks this of Mear and Mear asks a number of questions pertaining to photography as an art with a series of interspersed quotations from famed photographers throughout. 

We pursue Mear following Ellis during the series of moving images (found on YouTube via the QR codes) and, if you can see around the few technical issues – like the increasingly maddening flatlining sound from the van, or the obstruction of road noise drowning Ellis’ voice – then these monochrome records deepen our connection with Ellis. In contrast to the sense gauged from the book, the moving image additionally distances Mear from his associations with the place, presenting mostly as the cameraperson with a few indications that he remains as the camera occasionally wanders off to the side to look at something he is interested in, not Ellis. Because of this apparent distinction, I question whether the book and the moving image are unified from the perspective of the viewer. The moving image existing without the book makes Mear invisible and puts him in the sole position of the cameraperson – yet his presence is palpably felt within the pages of the book. 


This book, and the project it contains, is achingly familiar as a documentary project of place. But it goes much further in positing a breadth of questions regarding the role of the photographer and the relationships held between practising photographers. Especially considering those making projects about the ‘same’ place or subject, it has to be noted that this book also defines the distinctions between how crucial the position of the photographer is, how our subjectivities are central to what we see, and the varieties of experience we bring to each enquiry or investigation.  

N.B. As ever, this is a subjective review of a piece of work I am considering through my lens as a photographer and curator as well as reader/viewer. 

Photograd turns 1!

Photograd made it to a year old this week and celebrated with an exhibition at the University of Suffolk. The show has been home to work by some of the featured photographers on the platform in the last year, but sadly it has to be taken down this week. Many of the prints are being donated to the universities final year photography group who are currently fundraising for their two final shows. We really hope the donated images can help them on their way.

See the featured graduates who have helped us celebrate alongside some installation shots of the exhibition here.

We know that some of you were able to visit Ipswich and see the exhibition for yourselves. We've created an online version of the catalogue for those who couldn't make a visit. You can find it here.