Lola Paprocka - Winner of the Unveil'd Photobook Award 2016

For this particular blog post we're mixing things up slightly and featuring an award winning photographer who doesn't have the university experience. Since hearing about the Unveil'd Photobook Award we've been eager to speak to the winner and find out more about their work. This year it's Lola Paprocka with her series Blokovi. Be sure to find out more about Lola via her website and continue reading to find out more about her series and the award.

We're excited to see where Lola takes this work with the support of Unveil'd. We look forward to catching up with her again next year for an exciting Photograd Spotlight!

From the series  Blokovi

From the series Blokovi


IntroductionMy name is Lola Paprocka, I’m originally from Poland but I live and work in London. I moved to England straight after high school - 13 years ago and I’m a self thought photographer. My main source of inspiration comes from the interest and admiration of architecture and portraiture.

Blokovi  photobook - front and back cover

Blokovi photobook - front and back cover

From the series   Blokovi

From the series Blokovi


Your Work: Blokovi is a photographic series exploring The New Belgrade apartment blocks and their residents, predominantly shot on medium format in August 2014/2015. I intended not to focus on any particular group of people or subjects but I allowed the interactions with strangers in everyday situations within Belgrade’s brutalist architecture to inform the overall narrative.

From the series   Blokovi

From the series Blokovi


The Award: The prize is a solo show organised and curated by Unveil'd Photo Festival in 2017. We have only just started planning it so there is no location/timescale set just yet.

Blokovi   photobook - pages

Blokovi photobook - pages

Future Plans and Opportunities: To be perfectly honest I had not thought about that just yet. I’m super excited about having my second solo show. I started working on the new project about Polish teenagers from estates (from the city i grew up in) and would love to get some funding to make it to a publication.

Future Photograd: Joanne Coates

We have had a lot to catch up on with Joanne recently, and so in this post we're bringing you some images and insights into her new work. We're excited to follow her journey and see where all of these amazing opportunities take her!

Continue reading to find out more..

From the series  We Live By Tha' Water

From the series We Live By Tha' Water


Series Description

We Live By Tha’ Water is a body of work that allows room for the unexpected. It speaks about a deep rooted anxiety with society as the sea is used as a metaphor and a place where worlds meet islands at an edge, land where cracks can be seen from afar. The sea is the last frontier against power. The series is drawn out of a fascination of power relations, it is a poetic and emotional response to the eerie elements that make up modern societies. It concentrates on the hinterland, using the island as a metaphor for the place in-between what is visible and what is known. A place between madness and sanity.  A complex visual culmination of personal anxieties and mental erosion. The unsettled foundations of the project allow for a playfulness to take place, where ruptures, and interruptions allow a sense of mystery and ambiguity to guide a dark narrative on the modern day. Using narration as a form of alternative navigation allowing one to re-frame ways of thinking and seeing.

From the series   We Live By Tha' Water

From the series We Live By Tha' Water

Series length

I started planning this work in 2014. I knew I was going back to Orkney to work with The Orkney Fishing society. I first visited in 2012 whilst making work in my first year of university, that work was The Plight of the Fishermen. I spent a long time researching the work, I was lucky enough that Simon Roberts was generous with his time and skype'd me to talk about the work I was making; he gave me great advice and really made me think about some points that hadn’t occurred to me before. I was worried about taking so much time out to make the series, whilst making a living. Simon made me realise this is vital to do. From making the work in Orkney I’ve been able to get commercial work in Scotland that supports me making the series. It’s important to consider people such as David Lynch who spent years, literally YEARS (I think seven to be exact) making Eraser Head. Realistically, unless you are incredibly lucky you will have to find ways of making work, supporting yourself and still will only just get by.

Series influences

I’m influenced by theory, philosophy, literature and film, by Andrei Tarkovsky, by Adam Curtis. Not directly so, but ideas from being immersed in different worlds of writers and artists often lead me to understand issues that unnerve me better. I visited the Archives at Orkney Libraries often, and was really interested in the sound collection particularly. It’s a great resource; I was able to make prints from old glass negatives and pour over archival material. I was also lucky enough to meet a group of artists doing a residency on one of the smaller islands, Papa Westray. Thinking in new ways across different art forms.

Images from the series   We Live By Tha' Water

Images from the series We Live By Tha' Water

Other influences were people, the people of Orkney, which is what makes the place so unique, it has a very Egalitarian society with artists, filmmakers, archaeologist, beach combers, writers, marine biologists and more. The narrative nature to our human encounters is also a huge influence. It all ties in, for me I can’t define one influence as they are all interconnected in some manner.  I met up with all different people in the community, a PHD student and writer Rebecca Ford for example, it just really spirals it’s so hard to name one influence or person in isolation. As human beings we work in this network of influence and shared culture. How can we really define what influences us when we understand so little about how we think? Of course the sea, and the islands themselves were a main influence. The remoteness they give allows for a clarity of vision. It also means working there you work for larger stints. Time and money don’t allow for easy access to Orkney. 

We Live By Tha' Water  installation image

We Live By Tha' Water installation image

Future aims for the work

I am currently having an interim exhibition, that I have quite specific ideas around how I want it to be shown. For this exhibition it had to be portable and not attached to the wall so I got a chance to play. I really would like the work to be made into book form but as the work isn’t finished yet and I have a very specific vision for how I’d like it to be, I’m still thinking things through. I feel the book format best appeals to this project but I don’t want to make a book in a rushed manner, it will be a very slow process for me. In the future I would like to exhibit the work but again I have a very specific, expensive and unorthodox vision for the work. This is not something I feel would take place as a quick process. 

Is the series finished?

No! I am as we speak on a ferry in the Pentland Firth, the point where the Atlantic and North Seas meet, heading back to Orkney to exhibit the work and continue to work on it. I lived in Orkney for the first half of the year to make the work and have been working there and supporting myself by working around the UK.  I am working on the project throughout October, November and December. I’ve been making field recordings, working with marine biologists about mapping, writing a text, playing and experimenting with different ways of ‘seeing’. 

From the series   We Live By Tha' Water

From the series We Live By Tha' Water

Anything else you’d like to include.  

An interim show is really helpful, I’m about 3/4 of the way through the project. I got some really great advice at a portfolio review from Richard Page that made me think differently about exhibitions. The advice was that not every exhibition is the finished piece, use it to play, to try new things, to try out your ideas, to see what works. Have interim shows, have living room shows, basically do what’s right for you. I’ve also started talking about my work more as I used to be quite closed off. Al Palmer, who runs Brown Owl Press, is a photographer himself and gave me some great advice and really understood the projects core.

Joanne's Interim Show at CHAT conference on rurality 2016, it's then going to be exhibited at Orkney College throughout November.  

An Extended Instagram Takeover: Chloe Alice Hayes in South America

Photograd featured photographer, Chloe Alice Hayes, is currently travelling South America and has committed to an extended Instagram takeover! Until she comes back to the UK in December, Chloe will be sharing her journey every weekend through the Photograd Instagram account. We're really excited to follow the final leg of her journey.

We recently caught up with Chloe when she told us all about her travels. We'll let her introduce herself...

Inca Trail Day 3, Cloud Forest    - Instagram image from Chloe's trip

Inca Trail Day 3, Cloud Forest - Instagram image from Chloe's trip


Hola chicos! Chloe Alice Hayes ready to feature my work from the far flung land of South America where I am currently travelling for the next few months. Photographer and artist, I studied an Art and Design Foundation and BA (Hons) Photography at the Arts University Bournemouth and loved every second of both. I have spent the last few years as Artist in Residence at The Purcell School where I taught art and photography, worked in the boarding house and made my own work such as documenting The Purcell School that researched into the history of the 5 locations that the school has been situated, Day, focuses on the movement of natural light within the buildings and The Lead studied actors the moment before they go on stage, inspired by watching the pupils before they began a concert or recital. 

Image from the series  Day , 2016

Image from the series Day, 2016

Conway Hall, The Purcell School , 2015

Conway Hall, The Purcell School, 2015

During these two years I managed to save up to travel South America, I have always wanted to do this but never had the time or the money, as so many of us don't. As this was a natural end to the job and I was able to save, I took it as the perfect opportunity to explore before getting bogged down into a permanent job, buying a house and all the other things that we are 'expected' to be doing quite soon although, now I am here, I feel I may have caught the bug and won't be settling down for a while!

Magdalena, Lima - Instagram image from Chloe's trip

Magdalena, Lima - Instagram image from Chloe's trip


During my adventure I am visiting Peru, Bolivia, Chile and Argentina travelling through desert, rainforest and cities along the way. So far I have seen many amazing wonders including a homestay on Lake Titicaca and the Floating Islands of Uros, the Inca Trail, Machu Picchu, the Amazon Rainforest, the Nasca Lines and The Cañon del Colca with loads of other incredible stuff thrown in as well. My next stop, Cusco AGAIN, it was any arty persons dream.

Grace Chilton, Verge, The Lead,  2016

Grace Chilton, Verge, The Lead, 2016


Unconstrained by the limits of genre and fascinated by the processes of film photography, the work is always informed from a need to learn. The research is an essential step and the diverse range of final pieces and titles are always drawn from theoretical notions. The exploration of unconventional techniques are applied to produce peculiar and unique images. The discovery of both the iPhone and Instagram have been a vital tool in creating and sharing my visual travel diary.'

Find out more about Chloe via her website and see more of her trip via her Instagram account.

Future Photograd: Hollie Crawshaw

University of Gloucestershire photography graduate Hollie Crawshaw will be exhibiting her work as part of The Big Apple Harvestime Weekend in Herefordshire during the 8th - 9th October.

Specialising in agricultural photography, Hollie will be presenting her work in an appropriate barn setting in Awnells Farm, complete with traditional historic feature, such as old farming machinery, alongside fruit crates, boxes and hay bales. These items will be remaining in place during the exhibition, keeping it an authentic and relevant place to show her work. Hollie will be exhibiting work from various projects, including her Dairy Farming and Female Farmers projects. Find out more about the other events taking place at the festival over on their website. 

Hollie has also agreed to shed some light on her experience of exhibiting in this unique setting on the Photograd blog! In the meantime, check out Hollie's Twitter and Instagram for further updates relating to the exhibition. Hollie has informed us that she'll be documenting the duration of the event, from installing the exhibition to the weekends events, over on her Instagram at @HollieC_Photo.

Future Photograd: Joanne Coates

Launch Photograd Joanne Coates will be exhibiting her project Liznojan at this years Love Arts Leeds festival! Joanne told us that the exhibition will look at how "walking as part of a photographic practice is a meditative healing process". The launch of the exhibition will take place on Wednesday 5th October at Wharf Chambers, 23-25 Wharf Street, Leeds; the work will remain on show until the 20th October. 

Images from the series Liznojan

A sense of Place, Liznojan Exhibition. A exploration of mental health in our society through photography. “In Walter Benjamin’s terms, “to be lost is to be fully present, and to be fully present is to be capable of being in uncertainty and mystery.” ‘One does not get lost but loses oneself.’ Accompanying the exhibition an artist talk by Joanne Coates about the series Liznojan where the audience is invited to a relaxed environment in Wharf Cambers (Cooperative Club) where everyone will have the opportunity to discuss issues around Art and Mental Illness. 

Visit the Eventbrite page to register your interest in Joanne's talk, One does not get lost but loses oneself, on Wednesday 12th October, at 6:30 - 8:00pm. Please note; Wharf Chambers is a members’ club and you need to be member, or a guest of a member, in order to attend. To join, please visit

Joanne will also be discussing her work at the event Love Arts Conversation at Leeds Beckett University on the 19th October.

Love Arts Leeds is a celebration of creativity and mental well-being which takes place every October in Leeds. The festival aims to get people talking about mental health by sharing creativity. They feature exhibitions, gigs, performances, workshops, talks, debates, discussions and more. The festival is run by the Arts & Minds team.

Joanne will be writing up her experience of exhibiting during the festival plus her artist talk, so keep your eyes on our blog! In the meantime, find out more about Joanne's project Liznojan in her Photograd Feature

Future Photograd: Caitlin Chescoe


Images from the series Kings House: In Transition


Launch Photograd Caitlin Chescoe will be a part of this years Brighton Photo Fringe! Commissioned for new site-specific work to be made and organised by Brighton Photo Fringe’s three emerging curators Sarah French, Ruby Rees-Sheridan and Jamila Prowse, the launch of the exhibition will take place this Saturday (1st October) at the King's House, Grand Avenue, Hove. 

Caitlin has provided us with a short introduction of the project to give you something to get excited about!

"As the offices of Brighton and Hove City Council since 1996, activity inside Kings House has shaped the face of the city. The imminent sale of the building and relocation of the Council offices has received much local press coverage, but less attention has been paid to the social histories of the site. Kings House: In Transition celebrates the people and stories that have shaped the life of the building by inviting members of staff to share their experiences. The exhibition features portraits and oral histories collected as the Council staff begin the process of relocating."

Caitlin was selected for this commission due to the "strength of her graduate work as a social documentary photographer", as stated on the BPF's press release. 

BPF’s trainee curatorial programme provides opportunities for early career practitioners, offering invaluable hands-on experience in the development and realisation of a photography exhibition. The show responds more widely to BPF16’s theme of Experiments in the Common.

As well as the exhibition, Caitlin will also be involved in an event at Kings House: Caitlin Chescoe and Cat Fletcher in Conversation with BPF16 Emerging Curators on the 8th October at 3 o'clock. The talk will explore King's House as a transitional space, discussing the many journeys that have occurred throughout the building. 

Brighton Photo Fringe is a month long photography festival taking place throughout Brighton, which provides opportunities for emerging photographers, moving image artists and curators. The festival utilises venues across the city, presenting innovative approaches to art display. 

We'll be catching up with Caitlin again soon to find out how she gets on with each event, which we're very much looking forward to!

Future Photograd: Christina Stohn

We caught up with Christina Stohn to find out more about her recently developed project, The rumours are true, which will be on show at the Dong-Won Gallery, Daegu, South Korea, as part of Net Photo Festival at the beginning of October (3rd - 9th). Take a look at Christina’s website where you’ll find the project. 

Christina will be taking over our Instagram account at the end of September whilst in Seoul, which we’re sure you won't want to miss! Follow us on Instagram at @_photograd to keep up to date.

The cover of Christina's upcoming book,  The rumours are true

The cover of Christina's upcoming book, The rumours are true

Series statement

It is claimed that Belgrade Waterfront, an ultramodern construction project on the inner city banks of the River Sava, will transform the Serbian capital into a global metropolis within the next 30 years. It is supposed to generate multifaceted opportunities in the realms of commerce, places to live and work as well as transport and leisure. This development is intended to attract the interest of foreign investors and create an international hub for business.

Alongside investment by the Serbian government, the Abu Dhabi based real-estate company, Eagle Hills, will contribute 68% to the €3.5 billion project. The promise is that this will benefit the economy through new jobs. However, it is unclear whether this influx of money will have any real impact on most ordinary people in Belgrade, who on average earn €400 per month.

The plans will influence the entire infrastructure of the city. The new ‘quarter’ will further gentrify Savamala, one of Belgrade’s oldest districts, whose residents will be uprooted and smaller businesses evicted. Social segregation can already be seen in the evacuation of the refugee camp Miksalište. Critics fear that the project will infringe citizens’ rights, breaking laws and violating the constitution.

The question arises whether the project is socially acceptable, given that it has been extensively financed from the national budget.

Series length

Following intensive preparatory workshops, in April this year my classmates and I from the course ‘Culture and Identity’ at the University of the Arts Bremen (Germany) went on a ten-day trip to Belgrade, the capital of Serbia. Each student developed an individual project on location, responding to the broad theme of transition. We spent the past months editing and writing about our works to put together a group publication, comprising of media such as graphic design, photography, essays, interviews and illustrations. It is called White City, which refers to the translation of Beograd, and will be published this autumn.

Series influences

Since I used to live in London for many years, I have maintained a strong interest in gentrification processes. My personal work focuses on cultural themes in urban spaces, incorporating issues of housing, redevelopment and displacement.

Researching through archives and journals, I engaged with the implications of urban restructuring in a post-socialist state. I proceeded to investigate Belgrade’s district Savamala, landmarked as historical, on the threat of gentrification and commercialisation. During fieldwork, my intention was to visualise the juxtaposition between the developing and the decaying against the backdrop of the phenomenal construction project 'Belgrade Waterfront'.

Future aims for the work

In the beginning of October, this work will be shown in a group exhibition at the Dong-Won Gallery in Daegu (South Korea), as part of the Net Photo Festival, in collaboration with the Daegu Photo Biennale. Our Master’s studio will exhibit the photographic works produced in Belgrade. In addition to it, we will present a dummy of our group publication.

I am currently working on a short-run edition for The rumours are true. However, I would like to extend this publication with diverse interviews by next year.

The plan is also to exhibit this body of work in Belgrade in the future.

Is the series finished?

The rumours are true is work in progress.

Belgrade, one of Europe’s oldest cities having a turbulent history, has attracted my interest as a vibrant metropolis. I attempt a further spatial analysis of Savalama, the ancient part of the town, once derelict and neglected. Stretching along the riverfront, the former industrial area has undergone rapid gentrification to become a creative hub over the past years. As a component of global integration, it has in it the momentum to become a determinant in the new urban landscape. I would like to explore the dynamics of physical and social change as well as the effects of political and economic transformation.

Anything else you’d like to include.

I would like to thank Peter Bialobrzeski as well as the Goethe-Institut for making it possible for a fellow student and myself, to travel to South Korea to showcase our work in early October. 

Future Photograd: Marianne Bjørnmyr

Marianne Bjørnmyr, LCC MA Photography graduate and soon to be featured Photograd, has a new book coming out! The launch of An Authentic Relation will take place at The Photographer’s Gallery, London, on Tuesday 23rd August 2016. We spoke to Marianne to find out more about the project and the process of creating her forthcoming book...


Series statement

The work is based on a diary found on the barren and desolate South-Atlantic island of Ascension in 1726. The diary was found to belong to the solider Leenert Hasenbosch, who one year earlier was left as a prisoner on the island as a punishment for sodomy. The diary contains detailed descriptions from the first day of his arrival until the last day of his life, six months later. The book was brought to England and has since been published in several versions; the story has through time been fabricated and twisted several times.

The work presents photographs from a trip I made to Ascension Island, accompanied with the original diary; a constellation of documentation, culminating in an overall feeling of distance and displacement, questioning our idea about history, not as fortified facts, but as possible fiction. Through the work, one navigates between text and images, forming an incomplete experience of the story; the immediate apparent gets obliterated and one receives access to a incomparable world – composed by the connections between photography, text and object but separated by history and time. 

Project length

In all I have spent about two years working on the project, where about the last year has been work on the book: editing, designing, producing and so on. 


For this project of course I worked a lot with the original diary of Leenert Hasenbosch, it is a 92 page long detailed description of his last six months, and reading it determined pretty much every decision of the project. And also it made me look into a lot of other referencing material and written documentation of history in general. 

Creating the book

Making the book has been a very long process, in particular the editing and design, but very much the production as well. I spent a lot of time working on the dummy and testing out different ideas for the finishing, and could probably have spent another whole year tweaking and changing the contents. There are a lot of steps involved in the process of the production itself when arriving to that stage, where the covers as screen printed separately, the spine as UV spotted, and then there are two different papers in the book itself, where the text is attached separately in the back of each book. So, there is a lot of time spent on making sure all the involved people get the right messages, and also overseeing that nothing gets lost from place to place. But of course, that is also the fun part, seeing it coming together and becoming an object on its own. 

Images from the series  An Authentic Relation,  on show at Kunstquartier Bethanien, Berlin. 

Images from the series An Authentic Relation, on show at Kunstquartier Bethanien, Berlin. 

Future aims for project

I have also been working on the project as an exhibition and a part of it was shown in Kunstquartier Bethanien, Berlin, during July. So I am continuing to work on that, and developing it into a larger show with more content; it is really exciting working on the book and the exhibition alongside each other, they work really differently, and the audience reacts differently to it. Which underpins the background of the story and documentation I have been working on. 

Is the series finished? 

The work keeps changing form all the time, in a sense of course that I have finished creating the content and the material, but the presentation for exhibitions is constantly changing. The book is being published at the end of August, so that is one section that for now is constant, but I am enjoying seeing the variations in presentation that develops as I go.


See below for a preview of the book, An Authentic Relation

Skisse 6f.jpg

Future Photograd: Chris Mear


Series statement
Legacy: A Reciprocal Tribute is an artwork conceived by Patricia Swannell in response to The Woodland Trusts flagship Queen Elizabeth Diamond Jubillee Wood in Normanton-le-Heath, Leicestershire. The woodland, officially unveiled in 2012 to mark the Queens Diamond Jubilee, has filled 460 acres of former mining and agricultural land with 300,000 native trees. Patricia’s artwork takes the form of a plinth, inviting local families to make an annual family photograph against the backdrop of the developing trees. Charting both the changes in their family and the changes in the landscape they collectively call home.

You can find out more about The Queen Elizabeth Diamond Jubilee Wood here.

Length and influences
The series will take 60 years to complete - a tribute to the Queens Diamond Jubilee. Just one photograph each year, no post-production, no edit. Just pose, compose, shoot, print and exhibit.

For me, there are no theoretical influences for this work. Just the landscape and the family. We meet just before sunset. Take a slow walk down to the plinth. Pose and compose ourselves. And I just make the one exposure. Jobs a good ‘un, as they say. It’s a dream, really.

I became involved in Legacy in 2014 as my contacts were passed on through another local commission. Patricia had been collecting flowers and plants from the site during the development of the woodland, to create 60 etchings which would go on permanent exhibition at a local museum. The Woodland Trust then selected a local family who had shown keen interest and support in the wood. The idea was to commission a local photographer each year to photograph the selected family from the plinth, and each photograph would replace an etching each year. 

I feel enormously privileged to have been in the right place at the right time to have been asked to carry this beautiful project through to it’s completion. And every July when this shoot comes around I get excited beyond belief. It really is a very quietly beautiful evening to be part of. So, like I mentioned earlier, I’m just trying not to put too much time into pondering how it will look or how things will have changed by the time it’s complete, because when it’s done, I’ll be done too! I might not even be able to complete it! So I’m just savouring every moment of, and in-between, each photograph. I’m following my Grandma’s advice. I’m not wishing it away. 

Future aims
My future aims for this particular project is to just watch how it develops really. I’ll be 83 when I make the last exposure, all being well, so it’s a lifelong project and I don’t want to think about the end too much. As my Grandma always tells me “don’t wish your life away!” The outcome of the work has already been established with the developing exhibition, although it is currently looking for new home due to the demolition of it’s previous residence. It might be nice to see the completed work in a book, but at 83 years old will I have the energy or desire to commit to that? Who knows? Alongside each commissioned portrait I’m also making an annual self-portrait, or is it a selfie now? It’ll be interesting for me to sit and look through those one day anyway. 

Future Photograd: Alex Ingram Book Launch

The University of the West of England 2016 graduate Alex Ingram is releasing a book for his new body of work, David's House. The official launch takes place in St David's itself on 28th July where there'll be signed prints and brand new books to purchase. We can't wait to talk to Alex more about the launch and his book in his upcoming Photograd Feature!

Images from the series David's House

Series statement
St Davids is a city founded on the desire for seclusion. As the United Kingdom’s smallest city, both in terms of size and population, it shelters on the most westerly tip of Wales, surrounded on three sides by vast expanses of open water, where the last shards of land stand strong against the crashing waves and perilous currents of The Bitches. It is a landscape that has been shaped by nature and in turn has shaped the inhabitants of this community, who have learnt to live and adapt to its remote geographical location in quiet solidarity.

The writer, Thomas Mann saw in solitude something that “gives birth to the original in us, to beauty unfamiliar and perilous”. The return to my hometown after four years away has enabled me to consider St Davids and its people through fresh eyes, examining their relationship with the landscape and the connections and fellowships that have formed within this tight knit community. The people that live there have a connection with one another that goes far beyond just a postcode. They have a patriotism for the place. This book aims to give voice to some of the individuals that inhabit the landscape, and the stories they have to tell. 

Series length and influences
I tend to work on projects for a relatively short amount of time, but I have been working on my most recent project, David’s House for just under a year. The project all started with my neighbour Dai and my relationship with him. He has spent his entire life living within a three-mile radius of where he grew up, with no real interest of living anywhere else. For him, St Davids offered everything he wanted in life, and he used to tell me all about his life and his experiences growing up here. I on the other hand felt that St Davids didn’t really offer me what I wanted, and this project was an exploration of my relationship with the place that I grew up, and how it has impacted not just my life, but the lives of every individual that lives there. Dai was the main influence for this project. I was fascinated by his happy little life in this little part of the world, and I wanted to expand my project to the wider community and explore how St Davids has impacted their lives. 

Creating the work
I have always had a massive interest in photobooks and the role that they have in photography, and for me, it is the perfect way of viewing an image. I think it is incredibly difficult to make a successful photobook as there are so many fundamentals that you need to consider, from the size of the book, the edit, the order in which the images are displayed, right down to the paper stock. You need to get all of these things right in order for the book to be a success, and I spent a long time trying to figure all this out. 

Is the series finished?
I don’t really consider the project to be finished. I have photographed 48 people over the course of the project, but there are 1891 people living in St Davids. Once I have photographed them all and heard all their stories, that is when I will consider the project finished. 

Future Photograd: Ted Homer

University of the West of England graduate, Ted Homer, spoke to us about his new body of work titled Gloucestershire which will be exhibited in August alongside an accompanying zine. We can't wait to get our hands on one!

We also have a Photograd Feature coming soon where we spoke with Ted even more about his practise and previous body of work, Suburb.


Above images from the series Gloucestershire

Series length
The idea for this project was underlying when I left university in 2013, but I couldn’t act on it due to funding a project on this scale. A year later I acquired funding for the project from English Arts Council and after a couple of months of planning, I started to shoot. I was taking photographs for the next year and a half. Then I started scanning and creating an edit I was happy with to be used in an exhibition and a publication, this has taken up the last 3 months.

Series influences
The original idea of focusing solely on a county partly came from the county-by-county architectural guides authored by Nikolaus Pevsner. Once I started the project I tried to read and watch anything about Gloucestershire that I could find. My work is also influenced by traditional landscape painters, such as Gainsborough and Constable. 

Future aims for the work
I’m planning a exhibition for the work to take place in August, which is going to be in Gloucester. As part of the project there will be a zine that, for the first run will be free at the exhibition and then free via my website. I would like to show the work to as many communities across the county as possible, so I’ll try to exhibit the work at least a couple more times within Gloucestershire. One other thing I would like to achieve with the project would be some form of archive for the images that didn’t make the edit, I have nearly 3,000 images on a hard drive, and even though they didn’t make the cut they would offer something if shown.  

Is the series finished?
It's nearly there. The edit is done, the zine is finally being printed. Currently I'm in the early stages of organising the exhibition in Gloucester, with images already at the printers and framers.

Find out more about Ted and his work here.

Future Photograd: Martin Dixon

University of Westminster Photography graduate, Martin Dixon, is releasing a collaborative booklet of writing by Christopher Jones and images by himself, based around a council estate in South London. This body of work grew from Martin's degree project Estate of Mind.

Text from the booklet itself is in italics in this blog post.

Images from the series  Catch Us If You Can

Images from the series Catch Us If You Can


Series description
Catch Us If You Can is a reworking of Martin Dixon’s 2014 photobook Estate of Mind – photographs of Tabard Gardens Estate alongside text from Christopher Jones.

There is a photograph taken in 1913 of the slums that were demolished to make way for the social idyll of the Tabard Gardens Estate. The inhabitants stand in their doorways, moody and suspicious at this act of municipal surveying. 'Catch Us If You Can' is the reverse of this act. It covers the same local territory but our surveying aims to reimagine living histories from the bricks, passageways, stairwells and bannisters of Tabard.

Series length
We wanted Catch Us If You Can to be both affordable and available for local residents. Chris had already published pamphlets for Past Tense Publications – which was ideal. We printed the text on a risograph printer, the images on a digital printer and assembled them by hand. We linked the booklet launch to The David Idowu Peace Day, an annual event commemorating local teenager David Idowu who lost his life in 2008, yards from his home to knife crime.

Series influences
At the nearby Elephant and Castle the huge Heygate Estate has been sold off to developers, demolished and its residents scattered. While the Tabard Estate appears safe for the moment we have to keep a tight eye on the relentless gentrification of London’s social housing.

Pressure and forces exist all around that want to snatch this all away, to take it back and banish us. Present from the material details and the joy we found in the landscape is the determination that what we already have here is what we want to keep. That means all of us. Catch Us If You Can!

As Catch Us If You Can is a separate entity to the Estate of Mind photobook we needed a new title, and what better than the film Catch Us If You Can by the Dave Clark Five – the start of which was filmed 50 years ago, here on the Tabard Estate.

Later, the Dave Clark Five, less famous than The Beatles or Jesus, in the opening to their film ‘Catch Us If You Can’, pour out, running and ageless, from the old Church with mid-60s smiles free then from the pressure of the economy and into the Tabard Gardens. The long gone church, in aspect remarkable, but now the gap is also pleasing to the soul, removes itself from the film shot and the five boys tear the place up and head for the playground. Their group mistake was to jump from swing to swing and roundabout to roundabout and not to get on hands and knees and listen to what is under the grassy ground.

Future aims for the work
Now that the booklet is launched our main aim will be to distribute it. We’ll be selling it locally, pushing it out to bookshops and it will also be available online

Is the series finished?
This particular piece of work is finished which opens the door to new possibilities. I am currently photographing the final days of the Elephant and Castle Shopping Centre and for now I’m posting the work here.


You can find out more about Catch Us If You Can here and also attend the booklet launch on Saturday, 9th July in Tabard Gardens Park, London SE1.

Future Photograd: Liam Collins

Liam Collins, University of Cumbria Photography graduate, has been involved in several group exhibitions in the UK and Berlin. In 2014 he was awarded the Young Cumbrian Artist of the Year award for Audiotypes which is presented below. Liam is now exhibiting his first solo show at System Gallery in Newcastle Upon Tyne. This exhibition runs until 20th July.


Above images from the series Audiotypes

Series length
I had the original idea for the work when I was studying photography at college, at first it was going to be called Conversations and it was going to be long exposures of people engaged in conversations. I would say from that initial idea to what I ended up with it was probably around about a year of experimentation. But once I had the final Audiotype in mind the photographs, audio recordings and editing only took about a month.

Series influences
The main influence was the frustration at the lack of clear information that photographs give us. I wanted to create my own unique medium to work in that contained more information about the subject than a traditional photograph. An Audiotype image contains a likeness, (though this is often obscured by the subjects movement during the long exposure) the subjects mannerisms, and their speaking voice. However, the more information you put into an Audiotype the more abstract and difficult to read it becomes.

Future aims for the work
Of course it would be great for the work to be exhibited again and that is something I am currently looking into. Although I have enough images for a book, I feel they are far more effective on a large scale on the wall.

Is the series finished?
In its current form the project is finished, though it might be resurrected and turned into something else at a later date. I often find that one project will lead into another.

Find out more about Audiotypes here.

Future Photograd: Owen Harvey

Owen Harvey, University of Wales 2013 graduate, and now award winning freelance photographer based in London, has released a new body of work. We caught up with Owen to find out more...


Above images from the series Skins and Suedes

Series length
I've been working on the project for the last 3-4 years and it's still a work in progress. I felt it was a good time to exhibit the work now as the project is starting to adapt and turn a corner.

Series influences
I'm influenced by a range of topics and art forms. For this project I'd say the influence is the people in the images, they are the individuals who made me realise I had to continue this project and they are also the ones who make me feel a strong connection to the project. I've also been influenced by the misconceptions of skinhead culture in the media, this has made me want to go on to learn more about the subculture and present the people in a true light.

Future aims for the work
The work is being exhibited at The Photographers' Gallery opening on the 23rd of June and is part of a weekend celebration for Punk London. After that I have talked to a few people about taking the exhibition elsewhere, so hopefully a wider range of people can see the work. I haven't thought about the final aim for this project as of yet, I don't want that decision to dictate how the project grows and develops.

Is the series finished?
No, at the moment I'm very much interested in continuing the project.


Find out more about Punk Weekender at The Photographers' Gallery here