Loupe 10 Open Call

Loupe, a free magazine featuring a diverse selection of contemporary photography.

Image by  Luke Archer

Image by Luke Archer

ABOUT

Issue 10 will be our first themed edition, and we’re kicking off with the weighty topic of national identity. In the glare of recent events, we want discussion around the topic, from all sides.

We’re looking for projects that explore citizens’ relationship to their country, both positive and negative. You might have photographed, white supremacists in America, a border dispute, Brexit in the UK, or your own feelings towards your home country.

Despite the hefty title we are looking for work on a macro and micro scale; you might have spent years documenting a whole country or only days with an individual. The work can be heartbreaking or humorous – so long as it’s an engaging and well executed body of work.

HOW TO SUBMIT

PHOTOGRAPHY 

We are looking for work from all genres of photography, be it fine art, documentary, fashion or commercial. There are no limits; as long as the work connects with our theme of national identity we want to see it. Send either a link to the project on your website or up to 10 web rez jpegs and a short project statement to submissions@loupemag.com.

Please note we cannot accept any form of file sharing link, so make sure your images are small enough to attach to a single email.

BOOK DUMMY SUBMISSION 

If you would like to submit, please send a PDF of your book dummy to submissions@loupemag.com. Please note if you are selected to be featured you will need to send a physical dummy to us. Copies will be returned, although if you live outside of the EU and the dummy is large / heavy we may ask you to make a contribution to the cost.

WRITERS

If you would like to pitch an article, story or write for Issue 10 please email submissions@loupemag.com.

The deadline for submissions is the 5th of August 2019

Ginnel Foto Fest 2019 - Submissions Open

Ginnel Foto Fest returns, 25th - 26th May 2019.

inrep.jpg

We accept photographs of digital and analogue source.

Our new 2019 call hopes to attract submissions that show a diverse interpretation of this years ‘IN REPEAT’ theme. Our feature photographers already lead the way in showing very different approaches and concepts. Be inspired and make use of the opportunity to be part of a unique community.

IN REPEAT is inspired by dealings with the past or engaging with timely matters. This could be relating to finding patterns in society that may have been experienced by previous generations in similar ways. Think of working with memories by looking back into ones personal life. It could as well be the work with found imagery or dealings with historic content. The opportunities are manifold and we will be interested in seeing your work.

The Ginnel Foto Fest is with its 13.5 sqm exhibition space the smallest Photo Festival we know of. With this in mind and a call for project based submissions we are looking for: 

5 finalists who will get their work published across our online channels. Winner and runner-up will see their work displayed during the 2019 Ginnel Foto Fest and take part in the group exhibition of the Ginnel Foto Community in June at the Frameworkshop & Gallery in Ipswich.

Submission Guidelines

Entry is free!

We will only accept entries according to these rules. Submissions to the Ginnel Awards have to be sent via email to ginnelfest@gmail.com and must state ‘Ginnel Awards 2019’ in the subject header.

Photographs must be current and shot no earlier than 2017. Photographs must respond to the festival theme ‘IN REPEAT’. The photographer submitting the work must own the copyright and all necessary releases to the image. Feature photographers of the 2019 Ginnel Foto Fest are not permitted to enter. Only one entry/person is allowed. Multiple entries will automatically disqualify all entries.

Don’t put any info in the text body of your email. Please read on for further details.

  • Your submission must have minimum of 4 and maximum of 8 images.

  • We need your entry as a pdf document attached to the email.

  • Each photo must be on a full page. No two photos on the same page

The last page/s must provide the following:

  • First Name, surname

  • Email address

  • Website url

  • Nationality

  • Address of residency

  • Project Title of the submitted series of images

For each image we need:

  • Image title, Image location, date taken

Additionally you have to add: 

  • Short description of the project (max 500 words)

  • Short bio (max 200 words)

If your entry is selected for the finals you have to provide high resolution jpg files within a week after being contacted. Not responding or a delayed respond may result in being disqualified. Compensation claims will not be accepted.

The finalists grant Ginnel Foto Fest and associated partners of the 2019 Ginnel Foto Fest to use their images for marketing and other promotional purposes. Image credit will be given and the copyright remains with the owner. Curational decisions for the Ginnel Foto Fest and/or the Gallery Exhibition may not include all images of the submitted work. The curator’s decision is final. All work will be printed from the files provided and framed by the Ginnel Foto Community free of charge for the participant. All exhibited work remains in the archive of the Ginnel Foto Community.

The decision of the jury for the 2019 Calling Photographers is final.

Closing date for entries: 01 March 2019 at 23.59 BST

A London Photograd exhibition

In November Photograd will be exhibiting at London Metropolitan University to celebrate graduate photography in 2018. The exhibition will be listed as part of Photomonth which is exciting.

 
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We will be printing on Kodak Phototex as previous use of this was successful and it means we can reuse prints for future Photograd exhibitions. Phototex is basically a weatherproof sticky paper that can be used a number of times.

Costs for prints

  • 20" print: £32

  • 30" print: £47

  • 40" print: £62

  • 50" print: £77

  • 60" print: £92

  • 70" print: £107

  • 80" print: £122

The maximum width we can print is 42"

The space is big enough to accommodate large prints and small series of work.

We would also really like to accommodate some photobooks and zines in the space so please send images and sizes for consideration. If books are selected we would only ask for a small donation to Photograd and that return postage costs are covered.

Submission

  • Please ensure that you graduated a UK university within the last 3 years and studied photography - any questions regarding this please get in touch

  • Max 6 images - please specify how many images you are happy to pay for and be printed

  • Use the subject 'London exhibition'

  • Select images to submit and email them to photogradexhibitions@gmail.com - remember to include your series title, website link, social media handles, and where you studied

  • State in your email the biggest size you'd like your images printed

Selected images will be curated at the discretion of Photograd.

Deadline

Midnight Monday 1st October.

For those selected the deadline to then pay by will be Wednesday 10th October.

Supported by  Wex Photo Video

Supported by Wex Photo Video

 

Lorenza Demata - It all started when some of us left the country

For the duration of March we were seeking work from photography graduates alongside Loupe Magazine to reward with a collection of prizes and interviews. A lot of time was spent looking through the submissions and decisions were finally made. We're really pleased to present here the first runners-up interview.

Lorenza Demata is a photographer and visual artist originally from Italy who studied for an MA in Photography at London College of Communication. We've interviewed Lorenza here about the series It all started when some of us left the country.


It is estimated that expatriates constitute approximately 40% of London population.
At the same time, almost 50% of the total consumption of food resources relies on the importation of fruit and vegetables from other countries.


This project is an investigation of the notion of identity in the contemporary migratory context.
The displacement of human resources is explored through a visual analogy with imported fruit and vegetables. By creating this parallel relation between people and food commodities, Lorenza aims to unveil the process of redefining individual identity that often takes place in the experience of expatriates.
The photographic series and the book ask the viewer to critically reflect on the role of the human workforce in the political context of global migration.

From the photobook  It all started when some of us left the country - I

From the photobook It all started when some of us left the country - I

Can you introduce yourself? What and where did you study? My name is Lorenza (Lori) and I am a photographer and visual artist based in London. I come from Florence, Italy, where I first graduated in International Cooperation and Conflict Management. After my first BA, I studied Photography for three years at Fondazione Studio Marangoni in Florence, until September 2016. Then I moved to London to attend the MA in Photography at London College of Communication. I recently graduated and I am now working as a freelance photographer in London.

From the series  It all started when some of us left the country

From the series It all started when some of us left the country

Give us an overview of your work. What themes do you like to explore? Because of my multidisciplinary background, the content of my works is somehow always linked to social and political issues and it investigates themes related to the ideas of identity and culture. In my latest works, I have been particularly interested in the processes that influence and change the concept of cultural identity in the contemporary globalised context.

I usually address these concepts through portrait and staged photography, by subverting and experimenting different approaches. As a result, I would say that my practice sits between documentary and conceptual photography.

From the photobook  It all started when some of us left the country - I

From the photobook It all started when some of us left the country - I

What encouraged you to submit to the Loupe Magazine and Photograd call for work? Have you got any tips for photographers submitting work for similar opportunities? I usually try to apply to as many open calls as I can. I think these kind of calls are a good opportunity to show work, as well as to get feedback and responses. It is useful to always challenge ourselves and to confront our work with others. Accepting feedback and criticism is not always easy. But taking into account constructive suggestions can make you understand how complete your work is and it can contribute to make positive improvements.

How did this series come to the surface? Why did you decide to investigate identity in the contemporary migratory context through the use of photography? When I started my MA in London I wanted to investigate a theme that could be somehow close to my personal experience. I started wondering to what extent cultural identity changes when we move from our country of origin to another. I have also been interested in the process of commodification of the foreign human workforce in general and in particular in London.  

From the photobook  It all started when some of us left the country - I

From the photobook It all started when some of us left the country - I

I think it is important to reflect on identity and cultural issues in this place and in this historical moment.

Almost half of the population of London is constituted by people from other countries. While gathering data for my theoretical research process, I also found out that a large amount - approximately 50% - of the food commodities we consume in the UK is imported from somewhere else. By visually connecting expatriates to imported vegetables and fruit, I want people to reflect on how much a country relies on the global importation and migration, as well as on the role of foreign people in this context. 

From the series  It all started when some of us left the country

From the series It all started when some of us left the country

The outcome of It all started when some of us left the country is a photobook. Describe your book and explain why you executed your work in this way. The diptychs are usually installed in exhibitions as a series of booklets, which aim to recall the scale of a passport. 

The other part of the project It all started when some of us left the country - I is in the form of a book. In this section, I am investigating the concept of cultural adaptation by confronting a specific fruit with a personal story. As a result, the book mixes different visual inputs, such as screenshots, graphics, manipulated archival material and photographs.

Why have you cut out the faces in your portraits? The face is one of the main elements which defines the identity of a person. It is, I would say, indexical of the existence of the subject, and this is particularly evident in identity documents. 

From the series  It all started when some of us left the country

From the series It all started when some of us left the country

I chose not to show the face to reflect on the concepts of displaced identity and of absence. The size of the white square also recalls the photos that are used for official documents.

I think my aim is to underline how it is challenging to define ourselves culturally and individually.

Tell us about the accompanying pieces of fruit in your images. How have you linked fruit and portraits together? For the still life photos I gathered data about the most imported fruit and vegetables. Every piece is paired with the portrait according to the colours. I did not want to link the food with the subject on the basis of the same nationality. This way I want to enhance the concept of displacement and of distance of commodities and people. Furthermore, I mean to underline how the movement of goods and human migrations are global, by going beyond national borders.

From the series  It all started when some of us left the country

From the series It all started when some of us left the country

What are your future plans? At the moment, I am going on with this project and with the specific fruits and stories. In the future, I would like to investigate the social and cultural relationship between expatriates and locals. I also want to analyse some form of local cultural ‘resistance’ in the economic context, either in London or somewhere else.