A Q&A with Arts University Bournemouth 2019 graduate Ellen Stewart

We recently called for work from both BA and MA photographers who are graduating from a UK university course this year. We’ve made selections and are in the process of conducting interviews and uploading new work to Photograd which you can find here.

We selected Arts University Bournemouth BA (Hons) Photography 2019 graduate Ellen Stewart to support for the next year. You can find here an informal Q&A with Ellen to find out more about her work and plans moving forward.


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Hi Ellen, your work really stood out to Photograd due to its unique subject matter and well presented scenarios. Before we begin to support your work over the next few months we would love to find out more about what your goals are. Can you start by telling us about your university and Free Range experience? Hello, I’ve just graduated from the Arts University Bournemouth. The university itself has supplied me with the most valuable mentorship throughout my three years and has great inter-disciplinary links with other subjects. Coming from a painting background the course has given me such an expansive view of photography and its relationship to wider culture. Free Range was a great experience to collectively fund and organise our course to participate. Participating as an exhibitor opened up so many options for my work to be seen by industry professionals not only through the exhibition itself but through their social media handles, it’s been a really exciting time. One of the most educational parts of Free Range was understanding how putting a large scale exhibition works; the packaging of work, transportation, curation, advertising etc. 

Although you aim to confuse and question associations with private space, I think we can all relate to a few images in your series especially. Where did your inspiration come from and how do you plan to move forward to further play with your viewer? I really like this idea of creating confusion within subjects and objects that are familiar. I feel the inspiration came from that prior to this series I was creating work away from the home trying to photograph subject matter that I didn’t understand in a way to understand. I started to think more about mediating on the concept of playing with imagery that I seemingly do understand and physically pushing it to an extent where it is no longer familiar to me but it was important to me not to include any ‘strange’ objects or people. The strangeness had to come from removing, placing or collaging as such, mundane everyday items and family members to try and explore the bizarre in the normal. Joanna Piotrowska has been a big inspiration on my work especially going to her exhibition at the Tate was really intriguing and has a lasting effect on me. Moving forward I’ve become more interested in how little I can change to make the photo strange and vice versa in how much I can change by still using familiar imagery. 

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What does the everyday and the epic mean to you? The statement comes from the publication that accompanied the South Bank Centre’s exhibition The Epic and the Everyday in 1994. The catalogue presents one of Andreas Gursky’s photograph View over Cairo comparing the epic scene of the vastness of the metropolis with clothing lines of the everyday realities of the people that live there. This juxtaposition of how we perceive the epic photo with the underlying markers of banality began to shape how I started to see the everyday and epic in photographic terms. From creating my own series my relationship with ‘The Everyday and the Epic’ started to change and it began to mean if we can see every day as epic and how far or little do you have to change the everyday to make it epic. It’s still a statement which interests me and I’m constantly changing what it means to me and how to explore it.

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In your submission you mentioned that you'd like to make new images to expand this series. Have you got any particular scenarios in mind that you're hoping to shoot? Yes, I feel very lucky in the place that I am with my series as I’m only just beginning to piece it together and have a lot more to experiment and work with. I’ve begun to start spending days in my childhood house noting down the general day to day workings of the mundane routine of the people and objects within it. I have some specific scenarios in mind in the experimental stages to start working more in the night and how this can have differing effects to the day scenarios presented. I’ve also begun thinking more about the tiniest change, that I began to mention earlier, that I can do to scenario compared with the largest which is also another initial stage I’m going to begin with. 

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You also mentioned that you'd like to study for an MA in the future, how and why have you come to this decision? Have you got a university in mind that you'd like to study at? My plan on studying an MA in the next few years came from some of the lectures we had from MA students at my University exploring how their work has changed and grown since studying at post-graduate level. Although reading Lucy Soutter’s article in Source magazine a few years ago comparing the advantages and disadvantages of studying an MA in Photography, ultimately concluding you don’t need an MA to become a successful Fine Art Photographer. I feel as an individual I’ve really loved the network of mentoring I’ve received as a BA student trying to define my practice. Comparing to having mentorship in a few years when I’ve come to terms and distinguished my practice more, really excites me to see how it can be pushed even further. I’ve gone to the RCA shows for many years and the level of photography is so inspiring as well as Westminster and Brighton.

All images from the series  In My Fence Wall

All images from the series In My Fence Wall

As Photograd works as a supporter, advice giver, feedback provider, and whatever else you might require over the next year or so, where do you see your work taking you? What is your ultimate outcome? My first idea is to create a photobook of the series which really excites me as I haven’t created a project which I thought was suitable for the book form yet. The photobook being a new aspect of my work has been the only way so far I can see some kind of resolution for In My Fence Wall. I suppose my ultimate outcome is to keep trying to visually work out and explore the relationship with the everyday and the epic to a stage where I can feel somewhat finished with the questions I’m exploring. 

'With the Name of a Flower' by Vera Hadzhiyska - An MA Photography solo exhibition

With the Name of a Flower by Vera Hadzhiyska

MA Photography solo show

3rd - 7th September 2019

Four Corners Galley (121 Roman Rd, Bethnal Green, London E2 0QN)

Preview night: Tue 3rd Sept, 6 - 9 pm
Open: 4th - 7th Sept, 11 am - 6 pm

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Krasimira Butseva, a solo exhibition at EEP Berlin

EEP Berlin presents Balkan Mine
solo exhibition & events

Private view: 11th of July, Thursday 7PM

Open daily: 12th - 14th July 2019

Address: EEP Berlin's Gallery Space. Liegnitzer Str. 34 | 10999 Berlin

Balkan Mine is an extensive research of the shifting layers of history, memory and trauma related to the forced labour camps of the Bulgarian communist regime (1946-89) by photographer and researcher Krasimira Butseva (1994, BG).

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In a multimedia installation including film, photography, sculpture and layers of sound, she is recreating her personal journey through the spaces where a dictatorship was once enforced at its hardest. This ongoing project starting in 2016 is Butseva’s collection of accounts of victims and a record of her own subconscious and fragmented experience of history as an outsider. By letting the spectator become part of the intimate narratives of both the survivors and the artist, she is able to construct an image of unseen historical events and formulate a bridge between past and present, thus referencing the unspoken trauma carried within a society and its future generations.

Curated by Krasimira Butseva & Maya Hristova.

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Public Programme

13th July | Saturday 5pm
Remembering whilst Forgetting / In conversation Krasimira Butseva & Maya Hristova

Curator Maya Hristova talks to Bulgarian-born-London-based artist Krasimira Butseva about her exhibition 'Balkan Mine', which includes a series of films and photographs investigating the collective silence and denial of the human rights violations of the communist regime in Bulgaria. 

14th July | Sunday, 4pm
Trauma as Ritual / Reading & Writing Group

Krasimira Butseva will do a series of readings of texts which have influenced her work on 'Balkan mine'. From excerpts of fictional stories to history books, artists’ texts and archival documents, this session will blur the lines between real and imagined allowing for the artist’s narrative to come across. The reading will also be followed by a writing exercise in relation to the themes discussed.

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About

Krasimira Butseva has an MA & BA degrees in Photography from the University of Portsmouth, she has exhibited her work at Seen Fifteen Gallery, London (2019), Phoenix Gallery, Brighton Photo Fringe (2018), In motion / Prototype, Sofia, Bulgaria (2017), Four Corners Gallery, London (2017), Pingyao International Photography Festival, China (2016) and Uncertain States / Mile End Art Pavilion, London (2016). She's also a co-creator of Revolv, a photographers' collective working with British universities and art institutions, with the goal of discovering new experimental forms of creating and teaching photography in the form of lectures, workshops and exhibitions.

krasimirabutseva.co.uk | IG: krasimirabutseva
revolv.org.uk | IG: revolvcollective

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EEP Berlin is an independent platform for contemporary photography from Eastern Europe. Its focus lies in exhibiting the work of Eastern European artists, emerging and established, and presenting it to Berlin audiences.

eepberlin.org | IG: eepberlin

BA Photography graduate Instagram Takeover - Eva Jonas

We recently called for work from both BA and MA photographers who are graduating from a UK university course this year. We’ve made selections and are in the process of conducting interviews and uploading new work to Photograd.

We selected University of Brighton BA (Hons) Photography 2019 graduate Eva Jonas to takeover the Photograd Instagram from 12th to 18th August. You can follow Eva on Instagram here too.


That Thing Over There that surrounds and sustains us

It is the human condition to attempt to render the inaccessible, accessible, creating far-flung spaces beyond their own local geography. This expression of the exotic is still seductive to both the photographer and the viewer, inundated as they already are with such images in modern culture. Beyond this lies a cultural and historical web of damage and displacement of the natural world, as a result of human exploration and expansion. Nature presented as an exhibit, an exhibition, dictates our experience of it. What do these spaces tell us about human aspiration, the obvious contradiction and the longing for connection to the natural world?

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Images from the series  That Thing Over There that surrounds and sustains us

Images from the series That Thing Over There that surrounds and sustains us

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2019 photography graduate call for work - the results!

Big thank you to everybody who submitted to our most recent call out. We were overwhelmed with brilliant work which made the judging process a difficult one.

Nonetheless, here are the results.

The BA graduate we are rewarding with an extended Instagram Takeover is:
Eva Jonas

The 2 BA graduates we would like to interview are:
Katie Bywater
Charlotte Macaulay

The BA graduate we would like to support and represent for a year is:
Ellen Stewart

The MA graduate we are rewarding with an extended Instagram Takeover is:
Elena Helfrecht

The 10 Highly Commended MA graduates are:
Loreal Prystaj
Haven Tang
Samantha Johnston
Xinyi Liu
Vera Hadzhiyska
Chloe Evelyn
Ringo Chan
Daniel Lee
Zak Dimitrov
Isabella Campbell

Image from the series  that Thing over there  by Charlotte Macaulay

Image from the series that Thing over there by Charlotte Macaulay

Image from the series  In My Fence Wall  by Ellen Stewart

Image from the series In My Fence Wall by Ellen Stewart

Image from the series  Mise-en-scène  by Samantha Johnston

Image from the series Mise-en-scène by Samantha Johnston

Image from the series  Plexus  by Elena Helfrecht

Image from the series Plexus by Elena Helfrecht

Image from the series  Bright Eyes  by Chloe Evelyn

Image from the series Bright Eyes by Chloe Evelyn

Keep an eye out on Photograd and our social media channels for interviews, more images, and takeovers over the Summer.

We're excited to get things started with those selected.

Loupe & The Brick Lane Gallery - Another Graduate Show

 
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Ioanna Sakellaraki
A selection from the series Turtles

In an effort to let go of the human obsession for order and rhythm, I led myself adrift in the big wide world. Being away, lost in the strangeness of the unfamiliar, I constantly looked for home but never returned to it. It is said that tortoises crawl about on red earth, going nowhere in plenty of time. They carry their own home with them forever. The power of recalling and rebuilding memory from the nonexistent. Where there is no place to go and nothing to become; the being-ness of human freedom.

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http://ioannasakellaraki.com/
@ioannasakellaraki_photography


Laura van Erp
Single Image (Diptych)

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@pauravanerp


Alex Currie
Single Image

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Anna Perger
Single Image

I do not follow predefined concepts, even though it may be appealing. When I take a photograph, I have to place trust in my own creativity and ideas. In that moment I am a hopeful wanderer locating the already existing image. By exposing myself, the model and I share our vulnerability, which establishes trust and reciprocity. This is the core of my work. The animal inside everyone appeals most to me. I wander together with the person in front of me, unravelling the wilderness in the both of us.

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Fiona Filipidis
Series – Velvet

I didn’t know how deep I had gone until I came up for air. I fell head over heels and rolled and tumbled and scraped my knees and bruised my elbows, rolled, rolled and rolled around some more until I was stopped by water and couldn’t roll any more. He branded my soul, weakened my walls and seized it all. It ended; an awakening. Velvet is a cathartic journey I embarked on as a way of coming to terms with the end of my first, overwhelming, tumultuous relationship.

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Liam Webb
Series – Mother, Mother…

Mother, Mother… is the retracing and reconstruction of Dyfed-Powys Police 1983 operation 'Seal Bay'. 'Seal Bay' is the true story of the most complex drug smuggling conspiracy seen in Britain. Building a cavern out of fibreglass under an inaccessible cove in North Pembrokeshire the smugglers hoped to move cannabis into the UK. Head of the ring was Danish film star Soeren Berg-Arnback. Mother, Mother incorporates and references cinematic lighting and forensic photography. Mother, Mother... presents itself as a crime story through a complex mix of photographs, and objects forcing the viewer to navigate moments ranging from the vapid to the substantial, and to decipher clues as if at a real crime scene.

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www.liamwebb.co.uk
@liam.p.webb


Megan Winstone
Single Image

Portrait of Gina Tonic, Welsh body activist and writer, eating chips in our local fish bar in Abercynon, Rhondda Cynon Taf, South Wales. South Wales is historically absent from a female voice with its strong male presence of mining communities, all male voice choirs and rugby tribes. Gina and I are from similar areas of the South Wales Valleys and wanted to give a realistic look about its communities and characters. Working with a team of Welsh and Wales based creatives, Lily of the Valley shows the true values of life in the Valleys.

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Josh Adam Jones
Series – XO

Josh set out to unearth and communicate stories about the expatriate communities of Muscat in Oman. XO concentrates on the relationship between local people and outsiders. With over forty-five percent of the population falling into the expatriate category, Muscat plays host to a rich, diverse and colourful culture. The hospitality and generosity shown by the people of Oman was overwhelming. This project was partly a response to Western misconceptions of the East, and misrepresentations of Oriental values and beliefs. Oman is a peaceful and prosperous country; a sanctuary from the conflicts that affect that part of the world.

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www.joshadamjones.co.uk
@joshadamjonesphoto


Jamie Murray 
Series – Folly

‘How do you get the butterfly, starts from there, that’s the transformation. Bottom line is how a man can change.’ Mikey, 2018 This work came about through a series of conversations with individuals who have been incarcerated. Within these conversations the ex-prisoners spoke of what led them to punishment, how they navigated the prison environment, and their eventual transition from institution to freedom. I wanted to hear the stories told by those who had experienced prison firsthand, an approach more akin to a folklorist. The works are a rumination on these private conversations.

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Joe Pettet-Smith
Series – Anarchy Tamed

Gravel roads paved by hand carve through the desert, sheets of rusted metal welded together days before the event make up the City Gates, crowds drift through the dust dressed in haphazard combinations of leather, weathered sportswear and pseudo-military uniforms. This is Wasteland Weekend, the world’s biggest post-apocalyptic festival. The now permanent festival site sits in between the defunct Nevada Nuclear Test Site – where from 1951 a total of 928 nuclear warheads were tested during the cold war – and Hollywood. This is a place where costumes are mandatory, of warring tribes, Thunderdome battles and Mad Max vehicle parades. What started out as a few dozen fans of the films getting together in the desert is now 4,000 enthusiasts from around the world drawn to the promise of chaos and freedom.

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Rebecca Booth
A selection from the Series – In Case of Emergency

In Case of Emergency invites you to question the treatment of women within Westernized society. Depicting sexual assault, the intention of the project is to bring to light the detrimental effects of objectifying women. Social psychology concluded that sexualization (objectification) affects the way we perceive other people, in that it strips them of certain human attributes, such as a moral sense or the capacity to responsibly plan ones actions (Cogoni, Carnaghi, Silani, 2018). Therefore, it is not surprising to learn an estimated 3.4 Million women in the UK have experienced sexual assault over the age of 16 (Office for National Statistics, 2017). The items shown are targeted at women as a ‘super-cute’ way to defend themselves against assailants. A sickly sweet saviour. The hyper feminization of the products exposes the deep rooted ideology of womanhood in Westernized society.

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www.rebeccaboothphoto.com
@rebeccaboothphoto

An interview with female photography group, Uprooted

UPROOTED features six female artists from different cultural backgrounds working with a distinctly diverse approach: photography, installation pieces and works on paper. The unexpected fusion of each artist’s practice leads to a metaphorical understanding of the concept uprooted. The exhibition celebrated the not-yet possibilities when something or someone is rooted out from its familiar locations.

Private view: 29th May 2019, 6-9pm

Dates: 30 May - 2 June, 12-6pm

Location: Arts Hub Gallery. 509 Creekside, Deptford, London SE8 4SA


Tell us about Uprooted.an.exhibition. Who does the group show consist of and have you all studied photography? We are an evolving group of six female artists from different cultural backgrounds, where photography is at the core of what we do. The Uprooted exhibition will consist of a diverse approach including, photography, installation pieces and works on paper. We all studied MA Photography at University of the Arts London in 17/18. 

Image by  Clare Hoddinott

Who or what motivates members to continue making new work?  Our practice is research driven, so this sparks ideas and experimentation. We support one another to activate momentum to try things out and create a safe space to celebrate our achievements and our failures. 

How did Uprooted.an.exhibition come to the surface? What were the initial ideas and inspirations? We wanted to create a group of women to support one another in the next phase of our artistic journeys post studying a Masters. We wanted our work to be seen beyond the UAL network, to create and curate something that we had full control over and to try things we weren't able to do within an educational institution. We were inspired by the common threads running through our works and wanted to build a show around the unexpected fusion of each other’s practice which leads to the metaphorical understanding of the concept uprooted

What is the group’s biggest achievement to date? This is our first exhibition together. Watch this space… 

Individually, we are busy exhibiting elsewhere including, Photo London, Arles in France, Thomassen Gallery in Sweden and The Biscuit Factory in Newcastle. 

Image by  Nazanin Raissi

What's the main goal for Uprooted.an.exhibition? The exhibition celebrates the not-yet possibilities when something or someone is rooted out from it’s familiar location. We hope that each person that comes to the show will find something that resonates with them when thinking about the concept behind uprooted

Image by  Laura Blight

Image by Laura Blight

How can photographers get involved in what you do?  Anyone is welcome to come along to the private view on 29th May between 6.00-9.00pm and the exhibition will remain open till the 2nd June, so do come along and say hi. The majority of the artists should be around most days too. Otherwise you can e-mail us info.uprooted@gmail.com or follow us on Instagram @uprooted.an.exhibition to get in touch. 

Image by SandraF

Image by SandraF

Give one tip to new photography graduates. Perseverance. Things can take time. Our show has been 6 months in the making due to a few hiccups and hurdles, particularly in finding a suitable, affordable and available space in London. 

What does the future have in store for the group? We want to progress and expand our individual practices, collaborate with other artists and engage with the local community in practical ways.

Pre-order Photograd's next Brexit themed zine

This Brexit edition of PGZ supports a number of photography graduates who studied in the UK. These photographers have been given the opportunity to showcase work made around the theme of Brexit under the current climate in the UK. Select photographers have been interviewed by professionals within the industry for this zine.

With a wide array of subject matter, this publication brings to the forefront current situations and opinions across the UK amidst our controversial decision to leave the European Union. Both positive and negative stories presented here give readers the opportunity to consider and reflect, make changes and move forward.

Photograd has plans to release a second volume of this Brexit zine later in 2019 with a possible printed edition to follow.


Pre-order customers will be signed up to receive the Photograd newsletter and will be sent a link to download this zine when it’s released.

Use the code 85AK39N for 10% off any pre-orders.


Here are a few images and spreads from the zine to get a taste of things to come.

Image by  Bridie Lewis  who has been interviewed by  Joanne Coates  for this zine

Image by Bridie Lewis who has been interviewed by Joanne Coates for this zine

Image by  Kat Dlugosz  who has been interviewed by  Hanna-Katrina Jedrosz  for this zine  "Now I feel Scottish... my life is here, my home, my business, my partner and almost all my friends. My son was born here and feels Scottish. All of his life was here. Brexit could potentially rob me of everything I have built in 20 years, when I came I was young, now I am not. Starting again somewhere, and alone, frightens me. I have half-heartedly looked at going elsewhere but it looks difficult."  Uta, 47, from Germany, 20 years in Scotland, with her son Daniel, 18, born in Scotland

Image by Kat Dlugosz who has been interviewed by Hanna-Katrina Jedrosz for this zine

"Now I feel Scottish... my life is here, my home, my business, my partner and almost all my friends. My son was born here and feels Scottish. All of his life was here. Brexit could potentially rob me of everything I have built in 20 years, when I came I was young, now I am not. Starting again somewhere, and alone, frightens me. I have half-heartedly looked at going elsewhere but it looks difficult."

Uta, 47, from Germany, 20 years in Scotland, with her son Daniel, 18, born in Scotland

Spread by  Jakub Junek  who was selected by  Brendan Barry  for this zine

Spread by Jakub Junek who was selected by Brendan Barry for this zine

Spread by  Matt MacPake  who was selected by Photograd for this zine

Spread by Matt MacPake who was selected by Photograd for this zine

 
Image by  Luke Archer  who was selected by  Tom Coleman  for this zine

Image by Luke Archer who was selected by Tom Coleman for this zine

Image by  Deividas Buivydas  who was selected by  Chloe Juno  for this zine

Image by Deividas Buivydas who was selected by Chloe Juno for this zine

Spread by  Lorenza Demata  who has been interviewed by  Tom Coleman  for this zine

Spread by Lorenza Demata who has been interviewed by Tom Coleman for this zine

NEXT EDITION OF PHOTO SCRATCH - APPLICATIONS NOW OPEN

Wednesday 12th June 2019, 6-9pm, RPS House, Bristol

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We welcome applications from working documentary photographers and photojournalists. The only criteria for showing work is that it is documentary in nature, and that you are a professional photographer, not currently in full time education, working in the pictures based industries. 

Applications should be made via this online form.

You will be asked to include in your application:

  • A brief description of your project (no more than 200 words)

  • What you hope to gain from doing Photo Scratch – are there particular issues or questions you are encountering to do with your project?

  • A selection of low res jpegs from the proposed project (no more than 5 pictures, no more than 800kb each in file size)

  • Any information you have about how you would want to display the work (prints, contact sheets, projection, etc.)

  • Two links to where your work has been published or shared other than your own website. This should not be the work you are applying with.


Application time line:

  • Deadline: 5pm Wednesday 22nd May 2019

  • Notification of participation - by Monday 27th May 2019

  • Photo Scratch event - Wednesday 12th June 2019 at The Royal Photographic Society, Bristol 


Please note:

  • Photo Scratch is for work-in-progress only.

  • Photo Scratch is predominantly focused on documentary photography and photojournalism, though projects that reach into the art side of things are also welcome if they are rooted in documentary. Challenging the form is always encouraged.

  • There is no fee to apply or participate, but you are responsible for your own costs associated with participating (transport, prints etc.)

  • Photo Scratch is specifically for photographers who are not currently studying.


Supported by The RPS Documentary Group

Introducing Darkroom

darkroom is a fantastic new facility in Camden Town in north London where you can work comfortably to produce high quality photographic prints.

 
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With a range of enlargers that will satisfy most photographers’ needs, ranging from easy to use Kaiser 35mm/120 enlargers to a range of De Vere and LPLs capable of handling everything from 35mm to 5 x 4.

Initially, you will need to attend a short Induction session with an experienced technician, to ensure you understand how all the equipment works and what standard operating practices are.

Once inducted, as a member you can book an enlarger for a session of independent printing. darkroom provides all essential chemicals (developer, stop, fix, etc.), so all you need to bring is your own paper. darkroom even provides a processing service for films received at least 48 hours in advance.

No previous darkroom experience? Don't worry, darkroom offers workshops to get you started, or if you've mastered the basics there will be more advanced courses too. Head over to Courses and Workshops to find out more and book your first workshop.


Here we have an interview with one of darkroom’s directors, Phil Grey.

Run by a small group of photographers and enthusiasts, based in Camden Town, this fully equipped darkroom offers a co-working space to artists and photographers working with film based photography, as well teaching those keen to learn. The space offers membership, introductory and intermediate workshops, and aims to sustain a film based photographic community. 

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So, starting from the beginning, what motivated you to start darkroom? Well, we’re all film-based photography enthusiasts and felt that there was a need for a co-working space that supports other film-based photographers. Sadly, a lot of darkrooms are closing down, so we inherited a lot of our equipment as we couldn’t bear to see it all thrown away. A number of photographers have also very generously donated equipment they no longer use. 

We’re really keen to support the revival of interest in film based processes that has arisen over the last few years. As well as our membership, and co-working facilities, we offer workshops enabling darkroom access to people who may never have experienced the magic of one before. 

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Why do you think analogue photography is still so relevant today? I think younger photographers, who have always worked digitally, appreciate working away from screens, and slowing down their photographic process. I think there’s an increasing number of creatives who enjoy the discipline of working with film, and the therapeutic experience of spending time in a darkroom. There are also older photographers who are welcoming the opportunity to get back into the darkroom, and have that experience they had when they were younger. Few people nowadays have the equipment (or space to house it), to enable them to have a darkroom at home. 

The  darkroom  team with Brett Rogers, Director of The Photographers’ Gallery

The darkroom team with Brett Rogers, Director of The Photographers’ Gallery

People who come in to use our space are constantly saying how enjoyable it is to slow down and spend time with a tactile process. They also love doing it in the company of others. It’s become a place to meet people, a place to share ideas, see other people’s work - some members are collaborating together on new projects.

Who is darkroom for? Everyone! Well, everyone who loves, or wants to learn more about, photography and film based processes. It’s for people who want to continue working with film, processing film, developing prints, learning about the processes. We run workshops for new comers and people who want to improve existing skills, as well as offering facilities for those who want to get on with their own work.

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How can those interested, get involved? You can find details of our membership offers and workshops on www.darkroomlondon.org or follow us on Instagram and Twitter. We offer a 20% discount for students and recent graduates!


darkroom membership details

As a user of darkroom you can choose the membership that suits you best. Members are at the heart of the darkroom community. We have different membership schemes to meet different needs, as well as our new gift memberships for your analogue enthused loved ones. 

Resin Coated £60 - Our entry level membership for occasional users. This membership enables you to book your darkroom sessions.

Silver Bromide £250 - For those of you who imagine developing your relationship with us. In addition to your induction, you get four free long or seven short sessions, plus 10% discount on workshops and darkroom sessions.

Platinum £500 - For the safe light junkie. Free induction and one free long session per month, plus 10% discount on workshops, darkroom sessions and bookings at our partner studio 2 Iliffe Yard.

Our friends at Process Supplies are offering all darkroom members an additional 5% discount on their already very competitive prices.

Once you buy annual membership and have taken our mandatory Induction (£20 for Resin Coated members) you can use our online booking to reserve darkroom sessions.

Session Prices

Weekday Long Sessions  £45

Weekday Short Sessions  £30

Weekend Long Sessions  £55

Weekend Short Sessions  £35 

Bulk buy sessions in advance and get one free. Six-pack Weekday £225. Six-pack Weekend £285

Exclusive weekday darkroom use once a month from £80.

One-to-one guided sessions with an experienced tutor from £150

Student Discount: We offer a 20% discount to students on Memberships, and 10% on Workshops and Access Sessions.

 
 

The South West Collective of Photography - A Crowdfunding Campaign

The South West Collective of Photography are hosting their very first photography exhibition along Torquay high street in May. They will be taking over an empty unit and turning it into a public gallery. The theme is “Visual Storytelling”.

It’s with regret that due to various setbacks, the collective have had to start a crowd funder in relation to the accessibility and running of this event. This is to make sure it can be open to the public and operate effectively.

The South West Collective of Photography must stress that arts and culture, particularly photography, are severely underrepresented in this part of the country. It is absolutely vital that we change this, but cannot do it without your help! 

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The Full Picture: The stories behind the photographs - A Kickstarter Campaign

A photo book where photographers choose one of their own images and reveal the story behind their chosen image - managed and curated by Tom Carpenter, founder of LeftaBit.


My name is Tom Carpenter and I curate a blog called LeftaBit. I have recently launched a Kickstarter campaign for a project called The Full Picture. The idea for The Full Picture came about when listening a photographer speak at an event in London in 2015. This particular photographer told such incredible stories, not necessarily about the image itself, but instead she told the backstories to how the images came about.

After that event I was intrigued to find out if other photographers had similar stories behind their photographs. As the stories came through from the photographers, some of the stories made me laugh others made me question how they had made it to the point of getting the image at all. One thing that stood out to me with the stories was that a lot of the photographers had had to come through some sort of adversity and at times fear or crippling self doubt to capture that final image.  

This is something that really resonated with me, because I think we’ve all been in a position where you are in a unfamiliar place with a camera in your hands and you are having an internal battle, what am I doing here, why do I need to get this photo and who else actually cares. We compound these thoughts afterwards by going onto social media and spending hours looking at other people’s so called perfect lives or perfect photographs, and in turn piling more and more pressure onto ourselves.

The Full Picture for me highlighted in a way that the photographers I admire most also have those days where nothing seems to go as planned, where they are in a situation where fear of self doubt has them questioning what they do. This project highlights that in a small way, but it also shows that with perseverance and hard work you can get that one shot that makes it all worth while.

You can still pledge towards The Full Picture up until Thursday 4th April by clicking here.

2020 Collective Present: Environ 

Private View ·  Thu 21 March · 6 - 9pm ·  Copeland Gallery ·  SE15 3SN
Exhibition continues · Fri 22 March · 11 - 4 


2020 is a collective of photographers who create work internationally, collaborating on projects from their studio base in South East London.

For the first time, they will exhibit work together at Copeland Gallery, Peckham. Highlighting the work of twenty members, Environ will exhibit personal projects exploring the human condition within domestic, natural and imagined environments.

Tami Aftab  ·  Joe Beeching  ·  Lily Boyle   ·  Byron Chambers  ·  Tom Coleman  ·  Nathan Keir Crofton-Bond  ·  Oliver Dawson  ·  Maite de Orbe  ·  Rachel Gordon  ·  James Greenhalgh  ·  Matilda Hallander  ·  Unai Mateo Lopez  ·  Frederik Marks  ·   Dina Patey   ·  Prim Patnasiri   ·  Phoebe Somerfield  ·  Peter Stewart-Sykes  ·  India Tuersley  ·  Andrea Urbez  ·  Coco Wu 

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Click here to book your space.