I recently enter two images for the Palm* Photo Prize competition.
The submission is open to photographers working in all disciplines and styles and it’s free to enter. There are no themes, just an emphasis on one strong stand-alone image. The deadline for the submissions is on the 15th of April and entrants are limited to two images per person. On the 10th of May, 100 images will be selected by the Palm* Studios and exhibited in The Print Space Gallery in London from 14th to 17th of May. There will be four winning categories selected from the shortlisted and exhibited images:
Judge’s Panel 1st place
Judge’s Panel 2nd place
People’s Choice Award
People’s Choice Instagram Award
prizes looks very impressive. Judge’s Panel 1st place will receive: Polaroid
Originals OneStep + Camera + film; theprintspace £150 voucher, Labyrinth
photography Lab £150 voucher, Palm* Studios goodie Bag + Palm* Feature, Parallax
Photographic Coop gift voucher £50
Here are my two selected images
I chose them two, as I believe that both are strong single stand-alone images. Each one is also strong technically, with creative lighting and good composition. It would be amazing to be one of the 100 shortlisted. Wish me luck!
Yesterday, was the University of Huddersfield’s final year photography students Third Interim Show. The exhibition took place at the Market Hall in Huddersfield. It was amazing to see our work exhibited and evident development from previous exhibitions, visible within the quality of work and prints.
It was our last chance to get feedback on our work before the final submissions. We have five weeks remaining to the deadline, where we must submit our written work as well as physical books, framed prints or portfolio.
To get ready for the exhibition, I’ve made a few test prints to see what type of paper will be best for my photographs and my photobook.
I chose Lumi Silk Coated Card 300gsm for my photographs and Silk Coated 150gsm paper for the book. Both papers are light cream colour, slightly warmer than white. My displayed prints were in SRA3 size (450mm x320mm) and book printed in B5 (176mm x 250mm).
We were split into groups of 6 – 7 people to give feedback to the other groups. Have a look at my feedback:
Fallowing the group comments, each of us had an individual meeting with one of our tutors. I spoke with Richard Higgingbottom. Richard told me that my project is coming along well and that I chose good paper type. The design and the size of my book are also good however, he advised me to make some changes within the sequence and the text. I told Richard that I am planning to have a hard cover and he advised me to look at Leeds Village Books to find some ideas for the colour of the cloth.
I appreciate all of the feedback I received. I will change the title and think about the cover of the book; I will work on my book sequence and make bigger prints for the exhibition. I won’t include three men, as according to my given feedback it is “Indicating something racial?” I don’t agree with this, as my project is about immigration and clearly anti-racial however, if this is people’s first impression then I will have to work on it.
If you have any comments regarding my exhibition, paper type or my photobook, please get in touch.
Following the talk by our latest guest speaker Richard Kelly, we’ve had an opportunity to share with him our work and get feedback. Garry Clarkson also joined us, and we’ve had a chance to hear what he has to say about our work.
I showed my latest dummy book.
Feedback form Richard
According to Kelly, my project looks very good and I have some strong portraiture with very good lighting. His favourite was the first and second portraiture in the top raw, middle image in the third raw and the bottom left. The middle image on the top reminds him of Richard Billingham’s Ray’s a Laugh. He likes the photographs, as they show real people and emotions, as there is a story, people are thinking, imagining the future, appear hopeful, the viewer feels a connection to them. He also advised me to add more images of their personal stuff or something connected to them, as those little motives, symbolic photographs says a lot about the owner.
Both Kelly and Clarkson agreed that the images with dead pan face expression made in the subjects’ work environment are slightly emotionless and that I should get rid of them. As they don’t fit to the flow of the book, they appear as visual statistics, editorial work, from tabloids, photojournalism, newspapers or magazines when I am trying to show the opposite.
Feedback from Garry
Clarkson said that my book shows the everyday beauty and experience, the positive representation of immigration and humanising them. He stated that the last image in the top raw is too commercial, without the contexts and with missing metaphor, so the viewer moves away. He said that I have good environmental portraits around subjects’ homes and works; with subtle light and contrast of different gazes. Similarly to Kelly, Clarkson likes the emotive images with subtle, window light best, so as the one with dog next to the person, as he claims it signifies “when the space become the place” and the identity. Garry Clarkson adds that those images elevate away from statistical and news photographs, crates emotional connections and good feelings when looking at them. He told me to add images of more personalised items, or to add something symbolic that portrays the struggle people went through.
We spoke about the title, Bloody Foreigners? according to Clarkson “reinforcing the prejudice”. He said that the title shouldn’t be too descriptive, “don’t reveal everything, don’t reveal the magic”, let the viewer interpret and make their own story, the more you hold back the more people will invest. He then said, “I am jealous, a lot of work in here”. Wow, thanks Garry!
With only 7 weeks left to the deadlines, I need to take the advice in consideration when completing my final project. Within 7 weeks I must design and print a book, choose prints for the exhibition in April and for the final exhibition, also prepare final presentation, write critical research summary for my major project and professional practice. Is this even possible?
I will carry on writing the blog and share with you all I’ve
done, and the meetings/portfolio reviews I attended until the end of uni. Then I
will have some other stories…
As we are getting closer to completing the final year, we are not going to have any more tutorials, only individual meetings with our tutors. Last Wednesday, Richard Kelly was our latest guest speaker.
Richard Kelly worked with us in the studio in the first year of our studies. Recently, we also had a lighting workshop with him. However, this time he talked about his photographic career and experience of working with many clients, in many photography fields and doing his personal projects.
He started his photographic career as music bands photographer. He moved on to fashion and was commissioned for Dazed magazine, Elle magazine and shot covers for many other.
His advice was to be flexible and work very fast, as often we don’t get to dictate the rules and will have to work to client’s time scale. For example: when Kelly photographed Amy Whinehouse, he had about 5 to 10 minutes for the shoot; when he photographed a band, he had to shoot in the middle of a night etc. This is one of the reasons why he enjoyed working in fashion best, as he had control of the shoot, the lighting and posing in opposition to bands where he could not choose much, as the client is the one who always dictates the rules.
He was commissioned by Cadbury and claimed that client-based work funds his personal work, as commercial work often pays well.
Fred Perry Way – Ping-Pong and tennis player asked him to create artistic work and payed for it, so according to Kelly this kind of work is always best, as you do what you love, you can shoot what you want, you can be the artist and get payed for it all at the same time.
Kelly has made a few personal projects and his latest one involves a group of young men living in Manchester. He told us that is very difficult to create documentary work, as those people aren’t used to be photographed. That it takes time to get to know the subjects and to negotiate their trust. Similarly, it takes time to make them look relaxed. He recommended to always explain the project, to tell the subject what we want from the shot, ask them what they want from the shot and clarify where we will use the photographs. While photographing people he advised to always talk to them, as it relaxes them, and the more relaxed they look the better the image. When doing commercial work, he also recommended to do something we want, not only what the client is asking for. For example, if we have different ideas how to make the photographs that we should go for it, as we will have something for our portfolio or a new exhibition. To try to think about the bigger picture. I must agree about talking to the subjects, about the difficulty of creating documentary work, so as building subject’s trust.
Kelly also advised us to do the job that pays well even if that it doesn’t interest us. He also told us to get in touch with him after university if we need any help or advice on starting to work in the photography industry, or assisting jobs as he could recommended somebody.
Have a look at Richard Kelly’s website where you will find many other interesting work.
University of Huddersfield careers and employability service offer a range of guest speakers and workshops to attend. I recently joined “Working in Photography” by Alex Beldea.
Alex Beldea studying PhD in our university and we’ve had a few tutorials with him last year. However, this time he talked about his career in photography, his experience as professional photographer, his clients and job opportunities. I will mention a few of those:
Back in his country, Romania, he worked as a sport photographer. He came to the UK over 7 years ago to study photography. While studying, he volunteered for 3 years where he photographed musicians for HCMF. He claimed that both jobs improved his technical skills.
He volunteered as events photographer for University International Office. His volunteer job lead to many paid job opportunities.
He then took a placement year and worked at photo studio Hylton Photography in Leeds. It taught him how to deal with clients, see real photography work and improved his technical skills. This job opportunity lead to many collaborations, as Beldea is still working with Hylton and until now both photographers help each other.
Through university he gets many opportunities to cover events, in one of those he had a pleasure to photograph a royal family visit. He stated that it was stressful and challenging, as he only had 5 minutes for the shoot however, he claimed that it was a very good experience.
He worked for the University gym Team Hud.
He photographed York chocolate story museum Treat or Trick
He photographed DJs, celebrities, food photography – still
and moving image for Epicure.
Photographed Wander-clothing collection.
Discover Magazine-researchers within university.
Every summer for about two weeks he shoots Graduation ceremonies at the university, he works from 8am to 5pm, then edits at night.
Photographed costumes for final project costume departments.
Commissioned for Manchester Gallery as international photographer to exhibit his work about Manchester- Second Home
He worked on many personal projects. The Last Shift is about coal mining in Romania which is planned to be closed. He photographed coal mining workers who will soon become redundant.
In Tunisia, Beldea is making a project about a refugee camp. He is photographing and raising money for 35 refugees who are struggle financially.
Alex Beldea’s tips are: to be patience; work hard and find a way to show your work; work in many photography fields, as you will gain new skills and it could lead to more job opportunities; look for places to get feedback; join portfolio reviews, for example Red Eye in Manchester, Photo Meet in London; attend conferences as you may end up having exhibitions and this is the best way to show your work; alongside professional photographer’s jobs do internships or assisting jobs, as again you will improve your technical skills…
What a brilliant talk, one of best I ever attended. In my opinion Beldea is a very talented photographer and I love his commercial work, so as documentary; especially Valid for Travel. I always look at his photographs when looking for inspiration. Thank you, Alex, for sharing your story and giving us very useful advice.
If you would like to see some more work by Beldea, I will recommend
you visit his website
Last Friday, as part of our innovation week we’ve had a few photographers visiting our university. Each of us (final year photography students) could choose up to two of them for a portfolio review and a chance to talk about our major projects. The list of photographers who visited uni: Silvana Trevale, Karina Lax, Mario Popham, Sophie Traynor, Jack Greenwood and Tom Duffield. It was difficult to decide, as they are all very interesting people and brilliant photographers however, I chose Silvana Trevale and Tom Duffield, even though they saw my work before.
I chose Silvana, as she specializes in portraiture and working on personal project about Venezuela’s people and their struggle in the country which face financial, political and social crisis. I selected Tom Duffield, as he published an amazing book about his own family living on a small farm. The Whole House is Shaking explores family members emotional echo, a result of living with and later without the father who was a heroin addict. Tom mixes portraitures with still life and text to tell his story, it seems as a landscape of the everyday. I feel as I struggle to find something interesting apart from portraitures to tell my story about immigration, therefore I believed that he could help me out. I showed my dummy book and a few stories hand written by some of the subjects I photographed.
The feedback form Silvana
According to Trevale “Dog fits with the subject, as the subject looks as a lonely soul for me.” I told Trevale that now I am concentrating on each person as a human being, not just a person who works and contributes to the UK’s economy. She said that “the little girls’ photographs look too commercial, as they are too cute and doesn’t necessarily fit with the rest of the aesthetics. The girl from the end of a book is beautifully lit”. “Try to photograph differently, maybe without them looking at you, so it won’t be too cute”. “You work nice with the environment. You shot a lot since I last saw you. The images of lights could mean that everyone is form different places”. I also asked Trevale to write her own story as an immigrant and she did. Thank you for that. The last portrait with the cross on the wall is Trevale’s favourite. She said that “It’s a good idea to include some portraits with the story, or just a portrait or just a story, as it will help to build up the whole thing”. Her advice was to “keep shooting”. “I like the serious faces best, but you kept the genuine look of people and even that they are smiling it works”.
Tom Duffield’s feedback
“Very interesting project with ongoing issue and Brexit, it become more relevant. Your portraitures developed”. About the image of a man with picture frame above “there is a level of symmetry, the frame in the background intersects with his eye, brings focal point to his eye which is really interesting, strong portrait”. I asked what I should looked at apart from making portraiture to create narrative. Duffield asked “What I am interested with? I said that “the only thing that interest me was their lights or photo frames. As the light shines in their homes and not everyone has chandeliers”. He showed me that one of the portrait (the one with man and photo frame on the wall) “would look good with the image of ashtray and cigarette. As he looks uncertain about the future or as he is waiting for something”. Duffield asked me “What particular you are interested in immigration?” I said that “Immigrants has been discriminated and blamed for just about everything what is wrong in this country, and that I am trying to show that the truth isn’t like this”. I told him about the hand-written stories I am planning to add to the book. He said that I should put portrait along the story to correspond, or if I don’t have a portraiture but a story, then I should add the story next to the light, or something more abstract next to it, or place it on the blank page. The strongest portraits are the ones with natural lights, window light, simple background, nice skin tones. The last image “gives sense of religion”, the additional image of a light hitting the wallpaper – “change white balance”. He pointed out the image of a man with picture frame as its “slightly warm, a bit green, change white balance. If you want consistency, change it to a similar tone. Colour balance and tint and always the most important. About the first portraiture with lady on the bed “Really nice portraiture, nicely lit, painting-ly feel to it, nice composition how she fills the frame. In sense of visual strategies this is very successful portrait, more engaging, beautiful, natural, unguarded and honest”. Duffield also advised me to add description about every photographed person’s work to show how they valued to the country, how they contribute, or photograph their uniform, qualification certificate, or the tools they are using in their work. To show they have a level of expertise and that they contribute something. The project is looking very good and will be nice on the wall.
Thank you guys, I appreciate your feedback.
If you would like to see Trevale or Duffield’s works have a
look at their website, I think they are both brilliant photographers with a lovely
On the typical weekend apart from shooting for my major project, my family and I would backpack, wear hiking boots and go exploring UKs landscapes however, this weekend was different. As the weather wasn’t good, we decided to visit art galleries instead.
In the morning, I’ve had my first weekend shift volunteering for Hepworth Wakefield. Due to prints fair, it was very busy, I don’t think I have ever seen Hepworth as full before. In the first hour, I was meeting and greeting visitors near welcome desk. As I am still learning and I only spent an hour there before, seeing all these visitors coming from every direction I was a bit stressed however, working with all this nice and helpful people absolutely helps a lot. After busy hour it was time to go upstairs and looking after the galleries. The rest of my shift went very nice and quick, talking to visitors and other gallery hosts. When I finished, my boyfriend picked me up and we went to Leeds where we spent a nice afternoon visiting art galleries.
Firstly, we went to Leeds Art Gallery. To mark the 500th anniversary of the death of Leonardo da Vinci, Leeds Art Gallery display a range of da Vinci’s greatest drawings. The exhibition is free to visit and will be open to public until 6 of May. If you haven’t seen it yet, I would recommend it as it’s totally worth it. Seeing da Vinci’s art always feels as a pleasure and seeing these exact drawings could be one of a life time experience. Most of the drawings are small, framed in A4 or A3 sizes however, there is one enormous depicted horse. There is a variation of different forms from mechanical engineering and sculpture to architectures and human’s anatomy. What’s mostly visible in da Vinci’s drawings are the huge amount of details, his skulls, so as body parts appear as real body x-rays or scans.
After da Vinci exhibition, we went to explore the rest of gallery. There are many impressive and Huge paintings, so as sculpture and photographs. I liked the frame of John Hilliard’s photographs. I need to think about my final year exhibition, and this is a very good example to consider it for my photographs.
After Leeds Art Gallery, we went to visit The Tetley, to see the 22nd International Contemporary Artist Book Fair. There were many interesting artists selling their art. I got myself an interesting book and collected a few business cards from publishers and printing companies.
On Sunday morning, I’ve had a photoshoot. The day was dark and dull, but thankfully I manage to make some new photographs for my project. When I came back, my boyfriend, our daughter and I went to visit Hepworth Wakefield. Firstly, we went to Calder building for a Print Fair.The building is both huge and bright, great place for this kind of events. It was a very busy place, but great to see so many interesting artist’s stalls, so as galleries and print makers. Again, I looked at frames, to get the idea for my exhibition. There were a few good ones, but so expensive, I decided to make my mind up about the size and the colours first.
From Print fair we went to The Hepworth Wakefield. It felt good being a visitor this time, especially that yesterday was super busy. I showed my little family around Hepworth’s new amazing exhibition. Magdalene Odundo’s The Journey of Things, and other wonderful art from all over the world, both ancient and contemporary who inspired Odundo’s work. Both my child and my boyfriend were overwhelmed by Egyptian Canopic Jars; however, apart from this my daughter wasn’t too impressed, she’s only 9 years old and unfortunately she gets bored in the art galleries. Never mind, I am sure that one day she will appreciate the art.
If you haven’t seen Magdalene Odundo’s exhibition and/or haven’t visited The Hepworth Wakefield, you should definitely do it. It’s an amazing place full of wonderful art.
I’ve had a lovely weekend, filled with amazing art.
Yesterday, Theo Simpson visited our university and gave us a
fantastic talk about his practise.
Firstly, Simpson talked about another photographers’ work who influenced his practise. William Christenberry’s Green Warehouse, 1978 was one of the first image which made Simpson realise that he wants to become a photographer. To be able to use his visual language in communication. According to Simpson this image isn’t just a depiction of a green house, but the photographer’s dedication to the subject matter, as he became friend with the owner and for 25 years, he returned to the place every year to photograph it again and again and again. John Smith’s photographs inspired Simpson in a way that he realised that the photographer doesn’t have to travel the world to create amazing work. As Smith made his work in his door step, no further that 3 miles away for his house. Paul Graham’sBeyond Caring, 1986 gave Simpson the idea of how powerful the photography could be within communication in the world. Graham couldn’t photograph in job centre, but somehow, he manages to use his large format to make a very powerful photograph which carries historical context of high unemployment in the UK.
When Simpson finished university, he became one of those unemployed,
it made him think why did he studied? Why does he want to make photographs? Are
his photographs enough to talk about his thoughts? He started to make photobooks.
He was always interested in consumerism, technologies, news feed but also what’s
under his feet-as landscapes. He thinks that the life we are living in are completely
manipulated by all the above.
Photography for Simpson is the experience of exploration of
the world and the communication to people. He thinks that good work come from original
thoughts and expressions. Very useful advice, as he told us to think what makes
us different than the others. Book making process taught him the understanding
of materials, the discipline and the level of sacrifice. He used multiple visual
languages in his work; different materials, variation of printing technics,
scans of the objects, photographs of surrounding, objects etc. He believes that
photographers toolset become limited, as there is a lot to consider when making
photographs; like the lighting, location, time of the day, what camera do you
use, what lens, what point of view, angle…
Fallowing the talk, I had a chance to show Simpson my work.
He told me that the dept to the story is visible through my dummy book and that
I engage with a lot of people. That my portraitures are strong, intimate and
quiet. That I should ask myself question if the additional images doing their
job. If I really need them. I told him that I am planning to add a text to my
book. His advice was to be very careful and to consider what text will I add,
as text could be literal, and I could gain something but also lost something. He
told me to consider text as French folded, pull outs or hidden. About the
introduction for my book, his advice was not to add the text at the beginning but
at the end. So, each viewer will go through the book, then read the text which
could mean totally differ things that what they thought of photographs. He advised
me to look at other practitioners who added text in their work, like for
example Sophie Cale-Blind, and to
read Working from Memory.
It was a pleasure to meet you Theo and thanks for your advice.
Last Thursday we’ve had a large format workshop with one of out tutor Yan Preston.
Yan explains what is a large format, how does the camera works and why its been widely used even thought being huge, heavy and considered as a very slow and expensive process of making photographs. Large format is used for the quality and beauty of images and for huge size that photographs could be printed. Yan also introduced some artist who as well as her uses large format in their photography. For example Alec Soth, Ansel Adams, Edward Weston, Sally Mann-Immediate Family, Alys Tomlison, Awoiska von de Molen, Taryl Simon-American Index, Andreas Gursky-River Rhine. According to Alec Soth the subject become less conscious when photographed by the large format, as the photographer is under cloth, so the subject don’t get to see when the image is taken (You tube, Alec Soth: Portraits – The Ground Glass).
In the second part of the workshop Yan explained how to use large format camera, how to put the film in it and how to set up the exposure. We then went outside and each of us had a chance to take two images. There were a lot of stuff to remember but Yan told us that we can only learn it by use it and that we can learn from our own mistakes!
I really enjoyed and this session and looking forward to see how our images turns out.
Last Friday I had a pleasure to attend Lewis Chaplin’s talk.
Chaplin talked about his adventure with photography, as well as publications, book making and designing process. He made his first book when he was a teenager, printed in numerous examples and sent it to many publishing companies. Someone got back to him and this was his first step towards his carrier. He then introduced us to his publishing company Loose Joints he created together with his partner. As well as speaking about the books he published, he brought many physical examples of them, so we could have a chance to look through. One which catches my eyes was about fetish and called 2041. Book isn’t as interesting, but the way Chaplin talked about his relationship with the photographer and how they become friend and shared their interest in dressing up, was very interesting and really funny. The book contains self-portraiture, where the artist performs in his own house, but as he covers his own body in a various textiles, he always remains anonymous.
The most interesting for me was a book called Homes by Harley Weir. Weir created his body of work in refugees camp in Calais in 2016. I love the context of the book and the way she photographed the camp, which shows migrants’ struggle and the conditions they get to live in. She doesn’t’ just raised the awareness of the migrants situation in the camp, but also raised the money for human rights charities in the area.
After the guest speaker, we went to our base room and was able to show our work to Lewis Chaplin. He was very useful and gave me some good ideas. He said that I have a lot of strong portraits, but as a viewer he can not get the message I am trying to say to the viewers. Therefore, he advised me to add a lot of text, like essay, subject’s stories, facts, statistics etc. He suggested to talk to each photographed people and ask about their feelings, if they feel frustrated, or as they are working too hard, or are they under valued?… I told him that I am planning to mix the subjects with their belongings, so as their stories and he said that this is a good idea, as I shouldn’t give the viewers every answer, as it may changes their perception.
If you would like to see some more Loose Joins publications, check their website
As part of our Friday mornings group portfolio reviews this time we were joined by Karina Lax. Firstly, Lax said that I have a interesting name for a photographer. It may sound exciting, but she doesn’t know the real meaning of my surname and I didn’t tell her (exactly it means an “orphan”, but it also used to call somebody “walking disaster” and I truly hate it). Coming back to my portfolio, Lax was impressed with my work and picked up a few of my best portraiture. However, she pointed out a few which aren’t best. She added that I should always think about the context, subjects face expressions, their hand gestures and keep an eye on the composition, so there won’t be any distractions (she said it as one of my subject is dressed in dirty clothing and has his hand in his pocked, what means that he is insecure or somehow distress and that I should edit it to look clean; however, I replied that he is a farmer and that’s the message I want to communicate). Lax suggested that I have a lot of portraiture and should add more conceptual images to create the narrative about the subjects and their story. She recommended to experiment with the edit and mixed up subject’s stuff and pair them up with the person they don’t belong to (this is the second person who suggested this, and I must say I like the idea). She recommended to look at some photographer’s work: Liz Hingley for lighting and narratives and Tom Hunter for his staged narratives
On Friday afternoon Sian Bonnell was our guest speaker. She talked about her photographic journey right from the university, until now, 40 years as a practitioner. She shared her story about going back to photography when she became mother; she paid a child minder to look after her children and went out to create her artistic images. Mainly juxtaposed household item in the landscape (biscuits cutters, jellies etc), or used food and domestic items to recreate landscapes for example: ham on the wall. She plays with boundaries and mixing reality with fantasy. This kind of photography has not much to do with mine however, I am glad to be part of this talk; as Bonnell has a great personality, made us laugh all the way and gave us an important lesson. She suggested that we should not take it personally when people criticize our work (she said that the older she gets, the less care she became about what other people say). That we should love our work as if we don’t, it won’t be any good, but if we do, that’s when best work will arise. She believes that the camera is her partner in crime and makes her behave badly. Photography for Bonnell isn’t a subject but a tool for translation, it has philosophy. Bonnell also tried self-portraiture, where she reperformed painting’s gesture or her state of mind. The funniest story she told us was where she got commissioned for children surrealism and when she created a scene of crime, she got rejected. I am glad to have a pleasure to meet her for her creativity and lovely personality.
After the guest speaker, some students and I met Sian in our base room. We’ve had a chance to talk to her and to show our works. According to Sian my work is good and interesting. Bonnell suggested that I need to add a lot of text for my photo book, as pictures can’t express everything what I am trying to communicate to the audience. Bonnell recommended to add newspapers articles, headings about Brexit or other fictional headlines. She also gave me a few photographers to consider researching Rosie Martin, Tom Duffield, Jo Spence, Sian Davey, Mathew Finn and Guy Martin-Syria.
Today, I entered a single image for Lens Culture Portrait Awards 2019.
I chose this image, as I love the lighting, so as subject’s pose and the composition.
The image is part of my project about the foreign people who live and work in the UK. The image doesn’t necessarily communicate what’s my project about. But as the subject is looking away it gives me impression as she is missing something, possibly her country of birth or the family who lives there. As the media relentlessly portray immigrants as damaging to the UK, she feels displaced, just like perhaps every foreign born; and since the public voted for Brexit, she feels unwanted in the UK, broken apart between their country of birth and the country of residence, so as many other European Union’s immigrants, including myself. While each of us is different, none of us knows our future in here. One day we could end up like one of those poor South Americans, which UK decided to kick out of the country.
I choose the Lens Culture competition for many reasons. Firstly, as its free entry for a single image (which is significant, as being student I need to be careful where I am spending my money) and most importantly for great opportunities.
Possibility to have work exhibited at Aperture Gallery in New York City’s Chelsea district
A chance to receive press coverage from publications and media outlets around the world.
A chance to have work reviewed by Lens Culture editors for immediate exposure in their Competition Gallery and across all their online channels, reaching a combined audience of over three million.
An opportunity to have the work reviewed by International Jury
“Entrants to our Awards receive massive online exposure throughout the competition”
“Winners, finalists and selected entrants have been featured in major publications like BBC, The Guardian, The Washington Post, Internazionale, VICE, The Times of London, Huffington Post, Spiegel Online, The British Journal of Photography, and The Telegraph.”
“Selected works will be screened at photo festivals and events worldwide. Over the past year, our winners and finalists were screened at festivals in the UK, Greece, Croatia, Italy, Japan, Australia, Spain, France, the US, and more.
“Lens Culture is continually forging new partnerships with leading photo festivals around the world (like Voies Off, FORMAT, Tokyo International Photography Festival, and more) to increase exposure and showcase opportunities for our winners and finalists from our competitions.”
have the work “Published in the best of Lens Culture, volume 4”
entries: Wednesday, the 20th of February 2019
To find out more about the competition check Lens Culture website: