Anne Erhard - An Artist Residency

London College of Communication graduate Anne Erhard was featured on Photograd last year and we recently caught up with her again. In a quick interview, Anne has told us about her residency which involved a six week stay at DEPO2015 in Pilsen, Czech Republic, and introduces us to her new series of work, An elderberry place.

From the series An elderberry place

From the series An elderberry place

Who are you and where did you study? I’m Anne Erhard, a photographer and writer currently based in Berlin. I studied on the BA Photography at London College of Communication and graduated in 2016.

Tell us about your new series of work, how did the idea come to the surface? An elderberry place actually developed out of my graduation project From the trees we run between, which was based around various legends of the forest. For that series, I visited the Bohemian Forest at the border of Germany and the Czech Republic. After that first visit to the region, I wanted to know more about my family history there, which is the main focus of the new work. When I came upon an ancient and very direct connection between the two places in my research, An elderberry place essentially created itself:

More than 14 million years ago, a meteorite struck the earth in what is now Southern Germany, tearing open a crater whose remains are still visible today. In the moment the meteorite hit the ground, a unique mineral, Moldavite, was created out of the melting rock, thrown upwards and scattered in the South of the Czech Republic, across an area several hundred kilometres to the East of the impact site. My father’s father, who died when my father was a boy, came from Schönfelden (Osí) in the Czech border region of Bohemia, which the German population was forced to leave in 1946. My grandfather was subsequently resettled in a German village that happened to be located within the aforementioned meteorite’s crater, a coincidence that unknowingly bound him to the home he had left behind.

From the series An elderberry place

From the series An elderberry place

We understand that you completed An elderberry place as part of an artist residency. Can you explain more? How did you secure your residency? Yes, doing a residency was one of my biggest goals for the year after my graduation. I wanted to do a program that would help me develop a project that was already in progress rather than beginning some completely new work. I applied for a few residencies in the Czech Republic before being accepted for a six-week stay at DEPO2015 in Pilsen. Writing several applications and having the project rejected along the way really helped me to refine my ideas as it forced me to repeatedly think about how to effectively communicate my plans for the project. My time in Pilsen was brilliant, I got to do, see and be involved so many different things. Everyone there was so welcoming and really went above and beyond to help me complete the project.

From the series An elderberry place

From the series An elderberry place

Have you exhibited this work now it's complete? If so, where was it shown? At the end of my residency at DEPO2015 the venue hosted the Czech-German festival Treffpunkt, and I had a solo exhibition as part of this festival. Treffpunkt is a recent initiative supported by various European organisations and brings together cultural activities from both sides of the border. I made many of the prints for the display myself in the darkroom at DEPO2015, and the final exhibition also included objects that I had gathered from my family archive.

As An elderberry place is your first completed body of work since graduating, have you got any tips or advice you can share with new graduates? The biggest learning curve was making the project outside of the university network and facilities. My main point of advice would be to learn how to use whatever your new circumstances might be to your advantage. For me, this meant a shift away from making work by shooting every couple of months and bringing the project together piece by piece. Instead, I spent a year planning the photographs I wanted to make in advance and then shooting almost all of them in the space of a few weeks. Over the course of that year, I became much more experimental and let go of a lot of expectations I had had for myself, and I think in the end this worked out well for the final result. The most important thing for me was to embrace the fact that things will move at a different pace after you graduate and accept that there will be failures and rejections along the way. Throughout that time it helps so much to keep in touch with your course friends, as you are all in the same boat and most likely facing similar struggles.

From the series An elderberry place

From the series An elderberry place

What does the future hold? I am just working on getting An elderberry place out into the world and figuring out plans of where to potentially exhibit it again this year. Beyond that I’m looking to publish a book of From the trees we run between this year and am involved in and applying to a few other exhibitions. I also have a new project idea that I am starting to plan and research, which follows on from the very last photograph I took for An elderberry place at a Czech photography museum.

Moving Photograd Forward

Last year I benefited a fair amount from Start East, an initiative local to me who provide business support in the form of workshops, seminars, and one-to-one meetings. Advice and guidance really motivated me to take the first step in making Photograd my job. Many of you might not know or realise, but Photograd is a one man team. It's something I had an idea for soon after graduating when realising I didn't want any old ordinary day job. Thoughts became words, which soon became this online platform and related social media channels. Photograd now has a big following; I'm overrun with emails and requests, and views are always growing, it's just a lack of income for my hard work at this time.

Oh, I also work two other jobs.

After my first one-to-one in December I knew exactly what I had to do to make this work. I created a survey just for those featured on Photograd since it launched in April 2016 in order for me to gauge what is wanted and needed in this industry. I promised I'd publish some results and here they are.

Of the roughly 120 featured graduates when the survey was created, 52 responded.

  • 59.6% don't currently sell their work, 40.4% do.
  • Work is generally sold after assignments, at exhibitions or art fairs/festivals, through websites, word-of-mouth, via online printing portals, during residencies, or through an agent.
  • Of those 52, 81.4% are looking to sell work in the future, with 14% possibly wanting to. 4.7% revealed that selling work isn't for them.
  • Of those 52, 50% have somewhat benefitted from Photograd, with 38.5% having definitely benefitted from the platform, and 11.5% suggest they've not benefitted at all.
  • 94.2% of those 52 would consider being part of opportunities provided by Photograd in the future.

"What support or resources do you think you need as a photographer?"

  • Exhibitions, portfolio reviews, feedback, features and promotion.
  • Commissions, project support, advice, workshops, both professional and peer networking opportunities.
  • Print sales and outlets to sell work, both online and physical opportunities.
  • Competitions, meet-ups and discussions, learning resources, marketing and sales skills.
  • Support with funding and bursaries, recommendations, and links within the industry.
  • Inspiration and motivation, and an online community.

"What are your goals in terms of making a career from photography?"

  • Exhibitions, marketing, journalism, editor, writing, interviews.
  • Take on commissions and residencies, enter competitions and opportunities, and collaborate.
  • Teaching, lecturing, assisting, and make contacts within the industry to move forward.
  • Gain respect, be established, achieve agency or gallery representation, and reach a wider audience.
  • To make more work and sell more work.

"What does Photograd mean to you?"

  • Networking and exposure opportunities.
  • Connect and be inspired by others.
  • Exploration into new genres of work.
  • A valuable community and support system.
  • Professional, accessible, needed, and useful.
  • A first step platform to launch graduate careers.
  • A boost.

"How has Photograd benefited your career?"

  • Exposure, publicity, reaching a wider audience, gives credibility to work.
  • Confidence and inspiration to continue creating new work and show others.
  • Features are often used on websites, CV's, and sent to others when applying for opportunities.
  • Meet like-minded people, grow online audience, put new ideas into words.
  • Be contacted by others working in the industry for further opportunities.

"What extra support would you like to receive from Photograd, if any?"

  • Exhibitions, online and offline community support. Industry connections.
  • Critiques, portfolio reviews, mentorship, workshops, events, talks.
  • More exposure, sharing of new work. Advice and guidance, feedback.
  • Opportunity links from other platforms; a 'what's on' newsletter.
  • Financial support, funding and grant resources.
  • A way of sharing work online with others for feedback. Professional and peer networking. More of a conversation between those featured.
  • A physical presence.

"What sort of opportunities would you like to see provided by Photograd?"

  • Exhibitions, collaborations, connections, talks.
  • Feedback, reviews, competitions, awards, internships.
  • Seminars, printed media opportunities, festivals, open calls, job connections.
  • Involve more industry experts.
  • An online store.
  • Introduction to industry professional; publishers, curators, galleries etc.

At the end of the survey I allowed featured graduates to leave any additional feedback and this section overflowed with very kinds words of appreciation, support, and encouragement. I can't express how much it all means to me.

I've been working extra hard already this year to provide new exciting opportunities for Photograd, most of which will allow me to finally pay myself.

Watch this space.

Melissa, at Photograd. Obligatory tea in hand.

'In-Between Shores' - A residency opportunity provided by Ardesia Projects

Application Deadline: 15 March 2018

Country: Italy

In-Between Shores is a 23-days residency opportunity open to photographers all over the globe, with no age restriction, born through a collaboration between Ardesia ProjectsJest and Witty Kiwi. Click here for further details.


'Aomori' - A Solo Exhibition by Alexander Mourant

Falmouth University graduate Alexander Mourant was featured on Photograd in 2017 and he's back again this year with a solo show!

Alexander Mourant was born in Jersey, Channel Islands in 1994. He studied BA (Hons) Photography at Falmouth University. His work has been featured extensively online with British Journal of Photography, AINT-BAD, The Plantation Journal, Pylot Magazine and TRIP Magazine. Alexander has also exhibited a variety of work, most notably with CCA Galleries, Mall Galleries and in a duo show held at the Royal Geographical Society, London. He was a recent finalist for the South West Graduate Photography Prize and the winner of the FR Award 2017 for his graduate series Aurelian. Alexander is working towards his first major solo show held at The Old Truman Brewery, February 2018.

Aomori - Digital Invite.jpg

Aomori meaning “blue forest” in Japanese, is a synthesis of two existential ideas: the forest and the nature of blue. By combing these phenomenologically charged subjects, I create a place of high intensity, a place which exudes a life force and questions our relationship to time, colour and self.

Previously, through my photographs, I employed atmospheric conditions such as humidity, alongside tropical flora and fauna enclosed in artificial spaces, as a metaphor, for elsewhere. Through Aomori, I have expanded these territories to the ancestral forests of Japan. It is the presence of the forest and the density of its nature, which arrests for us, the relentless progression of time. It is peculiar how forests have such an affect on us. In our mind’s eye they exist continually in the past. Perhaps, it is the canopy of the trees which shelter us from gently falling light and the intoxication of time and duration. As temporal dimensions crumble, objectivity leaves us. We are found in a still, oneiric state, contemplating our own accumulation of experience.

Instagram: @alexandermourant

Twitter: @alex_mourant

'Deluge' - A Solo Exhibition by Alice Wills

University of Huddersfield graduate Alice Wills was one of the first to be Featured on Photograd in 2017 and she's back again this year with a solo show!

Image from the series Deluge

Image from the series Deluge

Deluge is a landscape project that explores the concept of a constantly changing world and the realisation as we grow up that nothing ever stays the same forever. Throughout this project I have revisited places from my own childhood and using the movement of water as a metaphor for transformation, I have explored feelings such as nostalgia, loss, compassion and acceptance. I have also explored the lack of control we have over the world around us and the changes that face us in the future, both in the natural world and our own personal lives. All images in this project were taken in Cumbria in the aftermath of Storm Desmond and the floods in December 2015.

Image from the series Deluge

Image from the series Deluge

Details of the exhibition

Location: Brewery Arts Centre, Kendal, Cumbria

Dates: 17th January - 24th February 2018

Times: 12 noon - 8pm, 7 days a week

Entry: Free!

Image from the series Deluge

Image from the series Deluge

Find out more about Alice here


Instagram: @alicewillsphotography

Twitter: @alicewillsphoto

Facebook: Alice Wills Photography

Read Alice's Feature here to find out more about Deluge.

Revolv - An Open Call


Revolv turns 1 year this month and we are looking for single image submissions to celebrate innovative photography by emerging talents. The call is free to enter and open to early-career and self-taught photographers, graduates and anyone currently studying on a BA/MA course, or equivalent. We welcome submissions from artists already featured by Revolv, as well as new faces. Applications can be submitted from anywhere in the world, but must be in English. There is no specific theme, however the images must be suited to be shown in a public space. The final deadline of the competition is the 1st of February 2018. The selected artists would be asked to pay a small fee (up to £15).

How to enter:
– One JPEG, maximum 5 MB
– Title and contextual information in relation to the image in a doc or pdf file
– Short biography in doc or pdf file, maximum 150 words
– A link to the artist’s portfolio/website
– Title the submission email ‘’One Year Submission‘’ and send to

If you submit later than 12:00 pm (GMT) on the 1st of February 2018, in size or format different from the above requirements, your submission won’t be taken into consideration. Details regarding the pop-up show for the winning photographers to be announced soon.

Photograd Instagram Takeovers

We'd like to introduce you to our brand new interactive Instagram Takeover calendar!

Photography graduates and students are eligible to takeover the Photograd Instagram accountOur online calendar allows those interested to schedule themselves in. We prefer takeovers to run from Monday - Thursday. All you need to do is click on the Monday you'd like to start and add your name in before emailing us an image you'd like us to promote your Takeover with.

The next available spot doesn't always need to be taken, be sure to consider when you'd like to promote your work.

The calendar also shows a few other exciting things like upcoming Spotlight's and Features.

Please email us with any questions or queries in regards to taking over our account.

An interview with SEMI ZINE

We recently interviewed the founder and editor of SEMI ZINE to give an insight into what they're all about and how you can get involved. Scroll down to find out more!

"We're advocators of great artwork and dedicated artists."


Who are you? What and where did you study? I’m Pagy Wicks, I’m the founder and editor of SEMI ZINE. I studied Photographic Arts at the University of Westminster in London. Doing my degree was one of the best decisions I’ve made. I really learnt how to think academically about photographic art and UoW was a great facilitator of critical thinking.

What is SEMI ZINE? Who's behind this creation? SEMI ZINE is a non-profit online and soon to be POD (print-on-demand) magazine dedicated to the arts on a global scale. It’s a new platform for artists to publish work and gain a bit of interest in their current projects. Initially I started up the magazine in my bedroom late one eve, it’s now grown to a small collection of art enthusiasts and graduates in different fields who wanted to contribute and work with me on the idea. 

Image by Nina Musholt

Image by Nina Musholt

How do you go about selecting artists to feature on the platform? We aim to feature anyone who submits work. Our selection process is very fluid and really depends on how much effort has been put into the body of work and if we can gauge that from the first submission. We also like the collaboration aspect of selecting artists to be featured with us. We do have a particular subjective ‘look’ in mind for the magazine based on our own interests. If the submission doesn’t necessarily suit our look we’ll have an in-depth look at the artists’ online portfolio and try to work out whether they have a body of work we’re eager to share with our followers which so far, luckily, everyone has had. 

Tell us about your ideas to create a print on demand zine. This was basically born out of the idea of running a cost effective, non-profit art magazine. It means we can cater to an audience no matter how small or large. There are setbacks to running a POD magazine - there may be a longer wait for your copy since we print on order. With the resurgence and resurrection of the magazine we’re not short for platforms that support a POD model. If you’re a nerd about all things print, like I am, then now is a great time to be alive and working.

Image by Ewan Waddell

Image by Ewan Waddell

How can creatives get involved with what you do? SUBMIT SUBMIT SUBMIT. We have a really simple submission system in place. Our website ( is pretty straightforward and user friendly. Artists can submit work via our submit tab online. I also welcome emails ( from artists who might have any mixed media ideas they’re looking to share with us. Occasionally I’m also trawling media to reach out to different artists around the world. Once we’ve made a connection we always stay in contact for future work or shows from the artists we feature. Our only regret in regard to submissions is that we cannot feature everyone simultaneously and our artists do suffer a hefty wait in our feature queue, so far though everyone has been very supportive and understanding about the waiting period. We’re super grateful for our lovely artists. 

As SEMI ZINE is not for profit, what's in it for you? The magazine is another platform for artists to be able to get their work published. I’m a photographic artist myself and I know the struggle to get word out that you’re dedicated as an artist is real. The whole concept was born out of that. We’re non discriminative in all regards and we value your work as much as you do. I really actually enjoy art in most of its forms and I’m a huge nerd about great art - if we get to feature someone talented who maybe hasn’t been discovered yet or has something completely valid to say then that’s our gain. 

Image by Mauricio Alejo

How does a SEMI ZINE interview work? How do you decide what questions to ask? We have a set of questions which aim to offer a more inside look into the artist and their own work. This set is always accompanied by a few questions as a response from me or the team about the work itself specifically. Since we’re all academics and graduates we do tend to ask very academic style questions which might relate to different well known theories in art. The idea is to create a cool discursive between the magazine and the artist. I always ask the artist to have fun while answering and don’t really limit them to what they can and can’t say or to any word count. It’s there to offer an inside perspective on the creative process to the reader for that feature. We try to create really interesting and immersive content for our readers too so this would affect how we pick our questions. 

Tell us about some of the artists you've decided to include with this interview. We’ve decided to show you a mix of currently featured and yet to be featured artists. Our current list of artists to be featured is so large at the moment that it wouldn’t be right not to consider their images for this interview. We tried to show a great variety in artwork we publish as well. In order of images we decided to show Nina Musholt - her work “[...] is driven by surrealism and daily myths and riddles.”, Krasimira Butseva - In her practice she explores “[...] history, politics and collective memory; working with state and personal archives, found photography and objects, and contemporary landscape photography.”, Mauricio Alejo creates intricate temporary sculptures in his home and documents the installations on 4x5 film and Ewan Waddell whose “[...] main motivations at the moment are creating visuals within fashion and documentary genres – and also producing publications.”. 

What's your biggest achievement to date? I know it might sound like a super diplomatic answer but honestly we feel like every single artist we’ve been able to feature and work with has been our biggest achievement to date. SEMI ZINE started out of my bedroom late at night and has bloomed into this already insanely cool archive and showcase. We’ll always see us reaching out as our biggest achievement and we’ll forever be grateful for our collective of artists too. It doesn’t stop at a submission - we like to get involved so we’re anticipating many more achievements to come.

Photograd Print Submissions - the results!

Late in November we launched Festive Cheer where we called for images from photography graduates with the chance of having a print sent to someone on our mailing list this Christmas. The submissions we received were fantastic and it was a really tough judging process deciding which to print. But we did it! Here are the results!

The above 12 images have been printed and packaged at the cost of Photograd and sent to the likes of Spectrum, Lens Think Yorkshire, #PHOTOGRAPHY Magazine, and Francesca Maffeo Gallery.

We will also include some special mentions in our upcoming newsletter.

Photobook Spotlight - Deadline Extended

Photograd Photobook Spotlight | Returning for its second year

Submissions now open | Deadline extended - midnight Friday 2nd March 2018

In recognition of the success of Photograd’s first Photobook Spotlight in early 2017, it will be returning for 2018.

Photograd supports and showcases work by photography graduates who studied in the UK. By providing opportunities to graduates we are effective in presenting a high standard of work. We are ensured each and every one of those we represent are devoted to their practice. 

  • The Spotlight is open to photography graduates who studied in the UK, and who are at any point in their career.
  • All responses to the suggested headers will be accepted for the Spotlight.
  • Submissions to

This Spotlight aims to demonstrate a wide variety of published, self-published, hand-made, and large print run publications by both old and new photography graduates. Acknowledgement of the headers we suggest graduates respond to allows them to promote their individual practice including exploration and process of book making.


The benefits of submitting to and being part of Photograd are a regular supply of exclusive opportunities and a support network of fellow creative graduates. At Photograd, we spend time sharing work of those we represent to the industry and establishing collaborations.

We hope to be able to showcase all submissions received for this Spotlight which will later be made a permanent part of our Archive.

Photograd Photobook Spotlight | Live on Friday 16th March 2018

To see the guidelines click here

Unveil'd Photobook Award 2017 - Submissions now open!

2016 winner | Blokovi | Lola Paprocka [UK] Exhibition | Centrespace | Bristol | April 2018

2016 winner | Blokovi | Lola Paprocka [UK]

Exhibition | Centrespace | Bristol | April 2018


Unveil'd Photobook Award is an international competition with the aim to support and promote the publications of emerging and established photographers. 

Each submission is added to a permanent collection which is exhibited and viewable to the public at Unveil'd events. 

- The award is open to all photobooks, artist books, catalogues or zines 

- Submissions must be primarily based on photographic content 

- The date of publication must be after 31 October 2016

Unveil'd will work together with the winning photographer or author to produce a fully funded solo exhibition within our 2018/19 programme. The focus is to create a flexible environment that responds to the winner's practice and best supports the development of their work. 

A shortlist of five titles and one winner will be announced 5 February 2018.

About the Panel

Jessica Lennan | Unveil'd Photobook Lead, Lecturer & Co-director of artist's studio and exhibition space Dodo Photo

Robert Darch | Unveil'd Project Coordinator, Photographer, Educator & Co-director of Dodo Photo

Tom Coleman | Unveil'd Founding Director

Oliver Udy | Photographer, Lecturer & Publisher, Antler Press

Lola Paprocka | Unveil'd Photobook Award 2016 Winner & Publisher, Palm*