Homeland - an open call from Revolv

Publication & workshop by Revolv.

‘’Mud is sweeter in your homeland, than honey anywhere else.’’

We are seeking photography & writing from emerging artists and writers, responding to the theme Homeland to participate in a publication and a workshop. The meaning of home is in a state of flux - starting from the search for a better future to the displacement of individuals as a result of political and economic events.

Photography is a vital tool conserving and narrating the roots and routes which shape one’s journey. People become nomads, adapting to temporary residences and an unsettled lifestyle, wherever they happen to ‘dock’. While images can encapsulate seconds of the present, writing is capable of shining light on unspoken stories, repressed affairs and private accounts of the notion of home.

We would like to collect individual and intimate, global and collective experiences in relation to homeland, in order to present multiple ways of perceiving the idea of belonging.

Fifteen creatives will be selected to participate in a publication which will be supported by a one-day workshop taking place in New Cross, London. Homeland publication will also include the work of guest artist Dafna Talmor and Martin Seeds; the design and production will be in collaboration with Victoria Kieffer.

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Submission guidelines

In order to submit, you need to:

 1. Be an emerging lens-based artist working with digital, analogue and/or experimental photography OR an emerging writer who works with poetry, short stories or academic essays.

 2. Attend a daylong workshop on the 22nd of June in New Cross, London where ideas of the physicality and functionality of the publication will be developed further.

3. Although the open call is free of charge, selected artists and writers will be asked to contribute with £15 towards materials, production costs and the launch of the publication.

Photography

1. A series of up to 5 images

2. An artist statement up to 300 words

3. Short bio up to 150 words

Send everything in one pdf (up to 5mb) to info@revolv.org.uk by the 10th of June 2019.

Writing

1. Brief description of the writing up to 150 words

2. Writing up to up to 1500 words

3. Short bio up to 150 words

Send everything in one pdf (up to 5mb) to info@revolv.org.uk by the 10th of June 2019.



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.

2019 photography graduates - an open call

Photograd are looking to reward and represent a number of 2019 photography graduates who have studied on BA and MA courses in the UK.


BA graduates

  • 2 graduates will be rewarded with an interview on Photograd which will be promoted across social media channels, newsletter, and to connections in the industry.

  • 1 graduate will be rewarded with an extended Instagram takeover from Monday 15th to Sunday 21st July 2019.

  • 1 graduate will be represented by Photograd for a year. This will include Photograd coverage of any new work, exhibitions, or book releases. Use of the Photograd blog and Instagram account where relevant, and introductions to connections within the industry. We will discuss with this graduate ways in which we can represent and support them.

MA graduates

  • 10 graduates will be selected as ‘highly commended’ and will have work presented on Photograd. This work will be promoted across social media channels, newsletter, and to connections in the industry.

  • 1 graduate will be rewarded with an extended Instagram takeover. This can be scheduled for a later date to suit the graduate.

All successful graduates will be added to the Photograd mailing list and will be sent an exclusive discount code for the online shop.


Eligibility and terms & conditions

  • Open to 2019 photography graduates who studied in the UK only, either on a BA or MA course. Please email with any questions.

  • Entries will only be accepted via photograd2019@gmail.com by the deadline given. No late submissions will be accepted.

  • Make it clear in your submission email if you do not want to be considered for any of the rewards listed above.

  • Copyright of all images submitted will be owned by the photographer.

  • Photograd retains the right to use selected images for the intended purpose of the website, and related social media accounts for promotion. Credit will always be given.

Things to include when making your entry

  • University and course.

  • A 200 word max series statement.

  • BA graduates: a short paragraph telling us why you would like to be represented by Photograd. (Your plans, goals, and things you’d like to achieve within the next year and in the future. Things you have set in place for the next year, and how you think Photograd could support you but not in a financial sense.)

  • 10 - 15 images attached to the email at 10 inches on the longest side at 96dpi. Download links such as wetransfer will not be accepted. Links to websites will also not be accepted.

  • Website and social media handles.


Submissions are free as always but donations are greatly appreciated. Making a donation will not affect how work is seen, selected, or promoted by Photograd.

Deadline for submissions: midnight, Monday 1st July 2019

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.

 
 

Loupe Magazine issue 9


Juan Brenner's 'Tonatiuh' is our Issue 9 cover feature. The project explores how 300 years of colonial rule shaped Guatemala’s present situation.

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Loupe regular, Rosie Wadey, shows us around Hollie Fernando’s portfolio, summing up her simple and evidently effective creative approach: create sincere work.

Tee Chandler takes an unusual approach to her family archive, revealing the hushed moments of intimacy between her uncle and his male lover; a heartfelt story elegantly summed up by Sarah Goad.

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Mike Murphy takes a cliched technique, points it at a hackneyed subject, and produces something altogether new and brilliant; his obscure panoramic images are a welcome new vision of Los Angeles.

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Regular Features Include:

Portrait Page, Centre Fold, Turning Point, Book Review

Featured Photographers:

Juan Brenner 
Rory Carnegie 
Tee Chandler 
Alex Colley 
Hollie Fernando 
Karen Harvey 
Ian Howorth 
Mike Murphy 
Muir Vidler

Writers:

Luke Archer 
Mischa Frankl-Duval 
Harry Flook 
Sarah Goad 
Gemma Padley 
Rosie Wadey

Spec:

64 pages 
275 X 200 mm portrait 
80 gsm uncoated paper

Click here to buy issue 9.

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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Loupe and The Brick Lane Gallery: Another Graduate Show call for work

 
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Calling All Emerging Photographers

Enter your work to our free open call.

Have your work seen by our expert panel of industry judges.

Be in with a chance of winning a free exhibition on Brick Lane, coinciding with other major London student shows.

We’ll provide an opening night with industry guests.

Get the chance to sell your work through our exhibition print shop.

 
Image by Chloe Massey

Image by Chloe Massey

 

About

At Loupe and The Brick Lane Gallery, we’re proud to promote emerging artists. This year we’ve joined forces to create ‘Another Graduate Show’ giving students and recent graduates the chance to have their work exhibited in a group exhibition at the Brick Lane Gallery in London, free of charge.

We realise the importance of giving new photographers a platform, and yet we’re also aware of the financial burden and stress of self-funded grad shows. Our answer is to offer up to 10 outstanding photographers the chance to exhibit their work in Loupe’s own Graduate Show, with no costs whatsoever. This includes no fee for submissions, and thanks to our friends at the creativehub, no printing costs either.

To make our open call as inclusive as possible, we also invite anyone studying for qualifications prior to University, those from nonphotographic courses, and those who have studied within the last two years.

To provide exposure for as many photographers as possible, we will be selecting a short list from the submissions. These shortlisted photographers will have the opportunity to sell their work through the Another Graduate Show online print shop, provided by the creativehub.

Just like our in-print magazine, we welcome submissions from photographers working in any genre and format of photography. You will have your work seen by our handpicked panel of industry judges who will select our shortlist and final exhibiting photographers.

 
Image by Jack Minto

Image by Jack Minto

 

Judges

Luke Archer - Editor and Founder of Loupe Magazine

Rosie Wadey - Photographic Agent at East Photographic

Zach Chudley - Marketing Manager at theprintspace

Keiza Levitas - Content Editor at Magnum Photos

Tony Taglianetti - Founder and Owner of The Brick Lane Gallery

Tom Page - Co-founder of Open Doors


Download a submission guide here.

DEADLINE: Midnight Sunday 19th May

The results are in! A brand new Brexit themed zine from Photograd.

For the last few weeks we have been working alongside our supporters to create a final list of who will feature in our next zine. It's been a tricky but exciting process and we are really pleased to present here our final selection!

Zine photographers

Bridie Lewis
Kat Dlugosz
Lorenza Demata
Luke Archer
Tory Ho
Deividas Buivydas
Jordan Turnbull
Jakub Junek
Matt MacPake
Tony Fitzsimmons
Rebecca Sperini
Norman Behrendt
Sam Burton
Steven Holmes

Website interviews

Luke Archer
Ben Milne
Matt MacPake
Jared Krauss
Jordan Turnbull
Jennifer Atchenson
Rob Townsend
Michaela Harcegova
Yves Salmon
Alex Jones
Nicholas Priest
Chris Mear

A big thank you to all those who submitted work and continue to support Photograd, this zine is an exciting one. A big thank you also to all those who have helped us select work and interview photographers for this zine and website content; Tom Coleman, Chloe Juno, Pagy Wicks, Joanne Coates, Alex Hewitt and Paula Jérémie, Jasmine Farram and Olivia Newstead, Alex Ingram, Genea Bailey and Daisy Ware-Jarrett, Brendan Barry, and Hanna-Katrina Jedrosz.


Here are a few images from some of those photographers who have been selected.

Image from the series  Yer Not In The North Now Ya Know  by  Bridie Lewis

Image from the series Yer Not In The North Now Ya Know by Bridie Lewis

Image from the series  Whisper City Bones  by  Matt MacPake

Image from the series Whisper City Bones by Matt MacPake

Image from the series  Flight  by  Deividas Buivydas

Image from the series Flight by Deividas Buivydas

Image from the series  Fisher  by  Tony Fitzsimmons

Image from the series Fisher by Tony Fitzsimmons

We don't currently have a launch date for the zine but if you'd like early access to purchase a copy with a discount code please let us know and we will keep you posted.

Introducing The South West Collective of Photography

In this blog post we introduce you to The South West Collective of Photography, a company dedicated to promoting photography and art as a medium in the South West of England. Run by Plymouth University’s recent BA Photography Graduate Samuel Fradley.


Who are you, what's your motto? My name is Samuel Fradley and my motto is to make a positive change within this world.

What’s your background? Have you studied photography? For the last 6 years my life has pretty much revolved around some sort of education whether that be from A levels all the way to university; it always involved photography. I studied a BA in Photography at the University of Plymouth and graduated with a first-class honours degree last year.

Image from the series  A Handshake with a Martian  by  Samuel Fradley

Image from the series A Handshake with a Martian by Samuel Fradley

What's your favourite style of photography? I am a big fan of documentary photography, particularly works which are approached as a photographic study. The idea that the photograph freezeframes that moment in time and keeps a record of that story fascinates me. 

Who or what motivates you? I have always been motivated to be my own boss. I suppose I have always had this feeling of rebellion or resentment to those who control or have power to control what I do in my days; I have always wanted to follow my own goals and dreams and through photography I can explore that. I suppose that’s natural as an artist, as you create work within your own perspective. In the last few years I have been really motivated to make a positive change in the photography world. Too many young artists go through education thinking there are little opportunities and it is my absolute goal to change this. 

Image from the series  A Handshake with a Martian  by  Samuel Fradley

Image from the series A Handshake with a Martian by Samuel Fradley

Can you tell us what The South West Collective of Photography is? The South West Collective of Photography is a company dedicated to the promotion of photography and art in the South West. Founded by myself in July 2018 the Collective aims to one day have a permanent gallery or space for artists to work, exhibit and explore their artistic interests. The Collective is a business, but heavily interacts within our local community and voices its opinion on a wide variety of topics that relate to our interests. 

Primarily an online platform, we feature the work of emerging photographer’s and graduates over a variety of social platforms as well as on our own website. This will develop into so much more in the future. 

Image from the series  A Handshake with a Martian  by  Samuel Fradley

Image from the series A Handshake with a Martian by Samuel Fradley

Tell us about the team behind The South West Collective of Photography. Currently, The South West Collective is just myself; Samuel Fradley. In business terms it is just me, but in artist terms that will soon change.

The Collective was always meant to be more than just me; therefore, I am pleased to announce that starting from May, the Collective will begin to announce new members to the Collective family, with our first artist being Ella Cousins. Ella is a recent graduate from Southampton Solent University and will be a fantastic part of the team. Her inspiration, motivation and kind heart is something that is desperately needed in this industry and I am certain she will play her part in inspiring female artists all across the country.

More artists will be announced in time, but I am delighted to say that there will be a strong female presence on the collective, representing and inspiring female artists across the country and further afield with Ella taking a lead on this. 

Image from the series  River  by  Ella Cousins

Image from the series River by Ella Cousins

What were your initial aims and inspirations when putting ideas together for the collective? Honestly when I started the Collective I didn’t have a plan. I’m not really one for long term planning, I have kind of got through life doing everything last minute and it has ironically worked. I knew that I wanted to start an organisation in the South West that represented photography. The primary reasons for this was that the South West has little to no infrastructure for photography. The majority of exhibitions, galleries and institutions are in Bristol or London, but for the thousands of fantastic artists here in the West Country, we have quite literally have nothing. The goals are to change that. I don’t actually pay myself at all from the Collective because I want it to grow. Although in the future I want this to be my living, for now I have to nurture it. 

What is The South West Collective of Photography's biggest achievement to date? Appearing out of nowhere and growing it into a photography platform for artists across the United Kingdom. I have been so privileged and honoured to feature a wide variety of photographers, both students and graduates on the Collective who are so immensely talented, it has just been a fantastic experience hearing people’s stories and watching their work develop. Meeting new people has to be a highlight too, I have encountered so many genuinely lovely people it makes this all worth it.

Image from the series  River  by  Ella Cousins

Image from the series River by Ella Cousins

How can photographers get involved in what you do? At this moment in time, all you have to do is reach out to me via email, Instagram or Facebook. I am more than happy to chat to artists and give advice or discuss featuring them on the Collective. As this Collective grows more opportunities will come about, but for the time being that is the only way to get involved. I am ALWAYS open to new ideas, improvements etc. 

Give one tip to new photography graduates. Ignore what everybody else is doing. Make the work you want to make in the style you want to make it. At the end of the day if somebody doesn’t like your work it’s only an opinion. Don’t fret, figure out what’s right for you and don’t fall into trends or patterns just because something is popular.

Tell us about your goals for The South West Collective of Photography for the future. My goals are to keep on going, to make this my own living and to get out of my part time job. Obviously like mentioned before, the long-term goals are to have our own space, but until that day comes, it’s just a case of going day by day and taking every opportunity that I can to grow The South West Collective. We will be seeking to hold exhibitions, run workshops and artist talks too, to get the public to interact with photography and to inspire the next generation.

Image from the series  River  by  Ella Cousins

Image from the series River by Ella Cousins

What does 2019 have in store for The South West Collective of Photography? 2019 is a huge year for us as it will be our first full year since it was founded. In May we will be hosting our inaugural exhibition. The South West Collective of Photography have been offered the fantastic opportunity to turn a disused, empty shop space on Torquay High street at Fleet walk, into a fully operational public photography exhibition for a duration of 6 weeks beginning in early May 2019. This will be a first in Torbay with regards to photography and will hopefully be the start of something fantastic within the local community and aims to engage with a wide variety of demographics. 

The exhibitions theme is “Visual Story Telling” and will be focusing on local artists and artists from further afield, who have created gripping and engaging photographic bodies of work presenting to the public issues and stories that they may not have ever heard of. We want the exhibition to have as much community engagement as possible and will seek to be holding workshops, talks and visits from local schools, as well as working with local businesses and organisations to try and get the public engaged with photography as a medium and our exhibition. We are hoping to run a series of events and talks from historians and lecturers which will educate students and the public on the selected works themes, in order to educate them on the bigger picture that they otherwise might not be aware of. 

Not only this; we will soon be releasing our brand new website which will have a ton of new content so stay tuned for that!

A catch up Feature with Christina Stohn

Tell us how this body of work came to the surface. When did it begin and what were your inspirations? Höllental und Himmelreich, which translates as ‘Valley of Death and Kingdom of Heaven’, is about tradition, folklore and religious beliefs in the Black Forest, a region in south west Germany. I grew up there, but then moved away for a decade to study photography in London and Bremen. I began the project under the working title Paradise Lost during my studies at the University of Westminster around 2012. When I returned to my home country, I had the urge to document these once familiar surroundings based on a feeling of distance and displacement. I used a minimalist approach in which landscapes void of people, and captured in foggy conditions, created a sense of mystery. At that time I drew my main inspiration from Hiroshi Sugimoto and Nadav Kander. As part of later research, I was inspired by a number of photo books relating to the Black Forest, especially Interieurs by Thomas Ruff, Einmal im Jahr by Axel Hoedt and Cuckoo Clock and Cherry Cake by Anne-Sophie Stolz. However, I did not set out to create a body of work in the style of any specific photographer.

From the series  Paradise Lost

From the series Paradise Lost

Did Höllental und Himmelreich further your decision to study in Bremen? I remember seeing the exhibition Landmark: the Fields of Photography at London’s Somerset House in 2013. This impressive show provided an overview of 21st century landscape photography featuring more than 70 international artists. However, one specific piece of work resonated deeply with me: Heimat_31, Schwarzwald by Peter Bialobrzeski (2004). It showed a vast snow-covered scenery in the Black Forest with tiny human figures populating the foreground. I instantly felt a personal affiliation with it, bringing back memories of winter trips in my childhood. This imagery made me strive further to make a real project in the Black Forest, my native soil. I distanced myself from empty landscapes and became interested in the relationship between people and place, a new venture for me. Then I found out that Peter Bialobrzeski, a professor of photography, ran the Master’s studio ‘Culture and Identity’ together with the graphic design professor, Andrea Rauschenbusch. This studio combined both my interests: photography and design and so I decided to leave London to study at the University of the Arts in Bremen.

ChristinaStohn_HöllentalUndHimmelreich.jpg
 
ChristinaStohn_Thesis.jpg

Tell us about the Black Forest. Why is this location important to you? The project results from my personal experience of growing up and living in the Black Forest. When I came to live in London I began to see things I had not previously been aware of. The Black Forest is one of the most popular holiday destinations in Germany. Tourist clichés and ‘Heimat’ films carry associations of an idyllic life in unspoilt landscapes and nature. I have always been annoyed about this idea of an ‘all-encompassing idyll’ and never connected to it. So my series is a bit of a challenge to everyone expecting these kinds of stereotypes. Even though high-tech companies are located in the area, village life is steeped in tradition across the generations. Seasonal festivals and religious processions are celebrated and centuries-old customs show no signs of being forgotten. These customs have also become commercialised and established for tourism and I find it interesting to pose questions concerning their significance within our more plural society.

From the series  Höllental und Himmelreich

From the series Höllental und Himmelreich

What have you learnt from making this work? To be honest, the journey has not always been comfortable. I have had quite a few arguments about both content and aesthetics of my work. Over the years my image making process has developed. I now follow specific methods and I am really happy that I found a visual vocabulary to express my views. I have started to trust my instincts, no matter what others say. It is impossible to please everyone anyway! Producing this work has also taught me to be patient, as it has already taken a few years of going back and forth. When it comes to editing, this process is quite challenging. I have to be ruthless to edit my images and it takes time for the narrative to start fitting together. Seeing the work progress and strengthen is very rewarding.

Installation shot of  Höllental und Himmelreich

Installation shot of Höllental und Himmelreich

Tell us about your written thesis which accompanies this body of work. What was your main focus and why? In my thesis I critically analyse the German term ‘Heimat’. It is a complicated construct, which can translate into English as 'home', 'homeland' or 'native region'. The notion of ‘Heimat’ combines the ideas of a place of origin, a sense of belonging and identity. However, the concept carries both positive as well as negative connotations.

I took one semester off in Bremen to attend classes at the University of Freiburg given by the cultural anthropologist Werner Mezger, a specialist in south-western German regional culture. The university library offered extensive research material on the term, which is centuries old. My goal was to reach a historical understanding and examine its varied cultural manifestations. Nevertheless, after a year of researching the idea of ‘Heimat’, the negative aspects of the term still troubled me.

In my thesis I refer to academic sources by writers, scholars and politicians and juxtapose their definitions, contrasting one quotation with another. The introductory quotation is by author Martin Walser (1968). It reads: “Heimat, das ist sicher der schönste Name für Zurückgebliebenheit.”, which translates as: “Heimat is certainly the most beautiful name for having stayed behind.” But I enquire whether the term is still relevant in an increasingly globalised world. The plural form ‘Heimaten’ is rarely used. Given the increase in mobility and migration, I query if the term still refers to one specific location.

From the series  Höllental und Himmelreich

From the series Höllental und Himmelreich

'Heimat' sounds really interesting and you've mentioned it can't fully be translated into English. Can you describe to us what connotations this word has and how it relates to your work? ‘Heimat’ has spatial, political, social, cultural and emotional connotations. Etymologically, the term is based on the Germanic term ‘haima’, meaning village or home. However, over time it has acquired multiple and problematic associations. In the 18th century, ‘Heimat’ was conceptualised as a space of identity and origin. Throughout the Romantic period ‘Heimat’ echoed a sentimental longing for homeland. The ‘blood-and-soil’ propaganda by the Nazis brought ‘Heimat’ into dispute. Most recently, the term has experienced a renaissance in the political field: the Home Office has been renamed the ‘Heimatministerium’.

In my work I have always questioned how to approach regional customs. Structures, which help to create community, like tradition and local practices seem to contribute to the stabilisation of a sense of home. Factors like language and religion form collective ties. These are symbols of togetherness but also delineation. On the one hand, repetitive customs serve to preserve tradition and culture, but on the other hand they are from a past era. ‘Heimat’ is supposed to be familiar to us. Because of my experiences abroad, my perspective on the Black Forest region has become one of alienation from these once familiar surroundings. Now ‘Heimat’ becomes something artificial, like a stage set in a theatre.

From the series  Höllental und Himmelreich

From the series Höllental und Himmelreich

What are your plans for the near future? Short term, in April I will join my former fellow students and professors from the University of the Arts in Bremen on a field trip to Sarajevo. As every year, each of us will work on a different concept on the city and we will then publish an artist book from all our work.

I cannot see myself finishing Höllental und Himmelreich in the near future. There are still more locations and events to go to. However, I have got a lot of material already so it is my goal to make a second edition of the book. The first edition as part of my graduate work was quite expensive to produce so I would like to make a different version, which can be made available to a wider audience.

I exhibited a selection of images during our degree show. Given the opportunity, I would like to show the series in its entirety, so I am hoping to have a solo exhibition.

I have currently started developing a new long-term body of work in the region of Freiburg.

Other than that, I am looking into grants and artist residencies. I would love to have the opportunity to make more work abroad.

I am splitting my time between personal projects and commissioned work and am currently working towards getting more editorial stories as a freelance photographer.


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.