2024 AOP Student Awards - Finalist Magazine

2024 AOP STUDENT AWARDS

m a g a z i n e

SHINING A LIGHT ON THE NEXT GENERATION OF PHOTOGRAPHERS AND IMAGE MAKERS

Challenging perceptions of identity, environment and society, through provocative and attentive imagery seems to be the central theme to this year's AOP Student Awards It'll be fascinating to see how this year's finalists and winners progress in their professional careers going forwards The AOP is steadfastly committed to the development and support of professional photographers and image-makers, whether they are starting out, emerging or established, and our Student Awards, showcasing the next generation of talent, have been a key feature of the AOP since the early 1980s and is a testament to that

Isabel Doran, CEO Association of Photographers

The AOP Student Awards were established in the early 1980s, to recognise and highlight emerging photographic talent which existed in further education institutions across the UK.

Many of the AOP Student Awards winners go on to become discovery winners as assisting photographers and then as professional photographers for our AOP Photography Awards, as we pride ourselves on nurturing talented photographers throughout their career

Entry to the AOP Student Awards 2024 is open to all students (including those from overseas) studying photography in the UK at FE level or higher

Best in Show plus Gold and Silver winners, along with selected finalists, will have the chance to be showcased and appear in the official 39th AOP Photography Awards Bookwhich is published in time for AOP Awards Showcase in late September 2024.

The Association of Photographers’ (AOP) is a membership organisation ‘created for photographers by photographers.’ Originally formed in 1968 when a group of influential photographers came together to form the Association of Fashion & Advertising Photographers (AFAP) and would later become the AFAEP, when editorial photographers were added before becoming the AOP in 1993 Established to protect photographers copyright, this remit has expanded to include further protection and support through business and legal expertise

The AOP is the leading membership organisation representing professional photographers From student level through to the highest levels of the profession

AOP Members include: Photographers, Assisting Photographers, Agents, Commissioners, Associates, Affiliates, Students and Affiliated Courses.

www.the-aop.org www.aopawards.com

#ProtectPromoteInspire

No part of this publication may be reproduced or transmitted in any form, by any means, electronic, mechanical, photocopying, recording or otherwise, or stored in any retrieval system of any nature without the prior written permission of the copyright holders. The copyright in the individual photographs in this book remains with the Photographer or relevant rights-holder unless otherwise stated. The Publisher does not accept any responsibility for any errors or omissions.

Copyright © 2024 The Association of Photographers Limited All rights reserved.

SPONSORS

Best In Show

"Fujifilm is proud to support the next generation of photographers through our association with the AOP’s student awards. We believe in nurturing creativity and innovation in the field of imaging, and we look forward to seeing the incredible talent that emerges from this competition. The overall winner can expect a prize that reflects our commitment to excellence in imaging solutions."

Theo Georghiades, General Manager Fujifilm UK

“It's a genuine privilege to work with Fujifilm, which is offering an incredible prize, in the form in the form of cameras and lenses to support upcoming projects and other opportunities of working with the brand. It is an amazing prize that will genuinely support a student or graduate’s journey into the professional world and help develop their confidence along the way. We couldn’t ask for a better industry offer that delivers on professional practice and supports new talent.”

Isabelle Doran, CEO, Association of Photographers

PEOPLE

Category Finalists

Africa Barrero, UWE Bristol / BA

Photography

Eliza Bontari, BA (Hons) Photography

Northampton University

Rhimon Bose,University for the Creative Arts, Epsom (BA Fashion Photography)

Amelia Clifton, Arts University

Plymouth, Fashion Media and Marketing.

Caitlin Eadie, City Of Glasgow College

BA Hons Photography

Yanko Georgiev,Canterbury Christ Church University / BA Photography

Mackenzie Hall, BA (Hons)

Photography Nottingham Trent

Alice Ives, Falmouth UniversityMarine and Natural History

Photography BA

Olivia Kurowska, Arts University

Bournemouth, Commercial

Photography

Sisira Maddumage, PhotographyLondon Metropolitan University

Matthew Marshall, Arts University

Plymouth / BA (Hons) Commercial

Photography

Hannah Mittelstaedt, Falmouth University/ Commercial Photography

BA(Hons)

Cody Jai Murray, Falmouth BA

Photography

Amber Mylius-King, BA (Hons)

Documentary, Photography & Print, Bath Spa University

Cheyenne Hall, Birmingham City University, BA Hons Photography

Ming Yi Sung, University for the Creative Arts / MFA Photography

Gabrielle Thomas, University of Arts

London - MA Commercial

Photography

Finlay Wright, Photography at City of Glasgow College

Mariam Yaqub, Morley College

Judge: Michael Wharley, AOP Accredited Photographer. GOLD Winner 37th AOP Photography Awards - Documentary

“In an election year that puts so much at stake for students, it was exciting to find the portrait category filled with work that traded in political sensitivity. Whether using portraiture for a quiet observation on policies' impact on the individual or as a means to challenge the status quo by exploring the identity and experience of groups outside the mainstream. Across the category there were commendable efforts to explore the breadth of what and how a portrait can be. But the projects or images that stood out did so for aesthetic and technical accomplishment: a careful understanding of composition, colour and lighting for all variety of face types and skin tones; an eye for compelling expression, pose and posture; and where needed, a clear sense of storytelling".

This category covers any form of peoplephotography from portraiture to street photography, photojournalism and beyond. The People category is an opportunity to make visual comments about the human race and its ways. In previous ‘portrait’ categories, animal pictures have been featured but the originators of this category feel that entries this year should feature the human race.

MATTHEW MARSHALL

THE FOOTBALL CASUALS

Chris and Tyler

Football Casuals are a staple of Modern British society In the 70s and 80s they were better known as hooligans as they picked fights with rival fanbases and would sometimes shoplift expensive fashion from French and Italian shops on European Away Days Nowadays the casual subculture is much more about the fashion than the fights but the desire for anonymity remains All we know of Charlie and Tyler are their names and that's the way they'd like to keep it @mattmarshall

SILVER WINNER

1. Champo, 34, feels more at home in their body now than ever. “In recent years, I have been able to confidently present as queer through my clothes, haircuts, facial hair and overall physicality. This has brought me so much peace. I feel most at home in my body during summer months, when I spend hours on end outdoors living a more active life.”

2. Merle, 32, finds the rise in anti-trans policy “really scary and disappointing. I remember feeling when I was younger like there was progress being made, and there still is, but in today’s political climate I can no longer hold onto the feeling that I have a steady progression towards a brighter future. I think the rise in violence and fear towards queer and trans people, fascism and hatred are growing at the moment, and it means that we need to be brave and support each other.”

3. Daniil, 19, identifies as gender nonconforming and is working on letting go of arbitrary standards set by society. “I used to treat my body like a prison, but now I see it as a reflection of my mental state.” They feel most at home in their body when they “don't bother defining myself and instead just let my voice fly.”

4. Anshul, 22, left India because “being in a transphobic country with transphobic parents and relatives was something I needed to escape to prioritize my mental health. I can now express myself, and although that has nothing to do with my body, my body language is what my body wears, and that is more liberating now than ever before. But at the same time, hearing the transphobic statements of Rishi Sunak here was a bittersweet touch of irony to my journey.”

HANNAH MITTELSTAEDT

AT HOME IN MY BODY

Through portraits of trans, non-binary, and gender non-conforming people in natural settings, this series conveys a sense of connection to one's true self and emphasizes the emotional aspects of being at home in the most important place we’re supposed to feel at home: in our own bodies. These intimate portraits invite the viewer to connect to the subjects and to push back at the culture that denigrates them.

Trans people are one of the most marginalized groups in society, and some politicians are trying to win points by vilifying them. They have been the target of a relentless stream of new bills banning trans-affirming healthcare and access to public bathrooms. Some legislation has even allowed for the removal of trans children from supportive parents.

There is growing vitriol aimed at the trans community, and they have become a culture war issue in countries like the U.S., Canada and the U.K. This is a pivotal time in trans rights and a crucial time for engagement and documentation. In the future, people looking back at us in our current present will marvel at the bravery and resolve trans people showed to be exactly who they were and are.

SILVER WINNER

So Much Peace 1.

2. Dappled Light

3. Poised

4. Gaze 4

AFRICA BARRERO

THIS BODY WAS CARVED FROM STONE

1. The Colossus I

In this self-portrait, I immerse myself within the harsh, rocky landscape of Cheddar Gorge. My soft human form lies at odds with the angular, sharp boulders it rests upon; my queer body is in a constant state conflict with the heteronormative environment I exist in.

2. Alistair

This is a photograph of my younger brother, Alistair; I'm standing behind him, with my arms wrapped around his shoulders. An important aspect of my gender transition has been the process of exploring my own masculinity through my male family members and friends, and vicariously reimagining the boyhood I never got to experience. My male identity is both an innate part of me and an external performance, and I've learnt what it means to be a man from the positive male role models in my life.

3. One week after

Once my the post-operative bandages were removed, I set up a large format camera and photographed my new body a week after my top-surgery operation. With the help of surgery and hormones, I have taken control of my image and altered my own form, because refusing to do so would have been an act of violence against myself. By transitioning, I have given myself the power to remake myself in my own image.

4. Stasis I

Holding a cracked mirror in my hands, I meet my own eye in my splintered reflection. Before coming out as transgender, I suffered from a fractured sense of self – presenting as female felt like a mimicry, yet I did not have the courage to perform as anything else. Fearfully lingering within the confines of the person I was before was a cruelty I inflicted upon the person I knew I was supposed to be.

'This Body Was Carved From Stone’ explores and reflects on my experience as a transgender man, and the effect this has had on my life and my relationships with the people around me. Questioning my identity and sense of self over the years has led me to develop a deeply complex relationship with gender. This internal journey I’ve been on since childhood was externalised once I began my social and medical transition, choosing to show the outside world the person I have always known myself to be. Through my photographic self-portraiture, I am learning to carve a space for myself within a hostile social landscape that actively rejects and denies my existence. I use the camera to show my reality as I see and experience it, and to record both the physical and emotional changes I go through as my transition progresses. My journey is one of intensive self-reflection, self-liberation, and learning to take pride in my identity.

Eliza Bontari, BA (Hons) Photography

Northampton University

ELIZA BONTARI

CELEBRATING MOTHERHOOD

Through my photography, I strive to empower women to breastfeed without feeling any embarrassment, while also enlightening viewers by advocating for breastfeeding as a natural and beautiful experience Despite the scientific evidence confirming the numerous advantages of nursing for both the mother and child, this natural practice continues to draw attention and criticism in contemporary society, particularly when it includes an older child or is performed in public. This photograph shows a proud woman who is breastfeeding her child while making direct eye contact with the viewer, aiming to educate the viewer about the powerful bond that exists between a mom and a child Through this photograph, I intend to create a safe space for breastfeeding women and express gratitude towards those who address and raise awareness about this issue

Rhimon Bose, Image 6 from the project

RHIMON BOSE

I AM DISLECSIC

Artist statement: “Hallucinated alphabets....phantom numbers…. Is it me, or are they real? Reconstructing the past from scarred memories of my childhood highlights my version of dyslexia. The illusions and games my mind used to play, was it a condition, or was it my sixth sense? Why were my notebooks full of red and blue? Why was I looked down upon during my early school days? Why did my confidence have to be deeply impacted? The ghosts have never gone. I am still looking for answers.”

“I am disLecsiC” is a visual representation of my constructed memories from my school days. As a student with learning differences, I had to navigate hurdles in my academic journey. My mind and eyes used to and still play tricks while reading and writing. My visual approach attempts to recreate my experience...the illusions and emotions. The ‘hallucinated alphabets’ and ‘phantom numbers’- one of my core experiences of Dyslexia - I have tried to reconstruct through visual illusions. The series's colour scheme, dominated by two colours, comes from the heavily marked school notebooks. It is this memory of the fear of the two colours, the debilitating feeling that I am unwell brought this colour scheme to influence the project.

1. 2. 3.

4.

Rhimon Bose, Image 2 from the project 1

Rhimon Bose, Image 3 from the project

Rhimon Bose, Image 4 from the project

AMELIA CLIFTON

ARCHITECTURE & ANATOMY.

FINDING THE BALANCE.

Architecture and Anatomy is a visual exploration that delves into the intricate relationship between architecture and the human form through the lens of editorial photography. This project seeks to uncover the parallels and connections between the body and the built environment utilising a combination of visual storytelling, styling, and spatial design, making the model an integral part of the landscape they are placed in.

By juxtaposing the raw, unadorned beauty of natural spaces with the intricate details of architectural design, such as the metal spikes adorning the model's back, I aim to craft a narrative that emphasizes the harmony and contrast between these disciplines. This interplay seeks to highlight the stark yet complementary relationship between the organic and the constructed, blending nature's simplicity with the boldness of avantgarde elements. Rather than simply placing people in a setting I strive to tell a story that encompasses both the body and the fabric they wear.

Stylist: Megan Lim. Model: Daniel Adeeko.

1. HER. Caitlin. This image showcases a self portrait of myself on a hand held mirror using an alternative process known as cyanotypes. My story of HER that is behind this cyanotype portrait is about the eternal struggle with appearance, that was carried with myself throughout childhood and still lurks with me in womanhood, especially when the world is now captive to social media that showcase the hypothetical standard normality of how we should look. Due to this it is why I am mostly behind the camera rather than in front of it as I want to be the creator not the subject, so choosing to place myself in my own project and tell my story, knowing I have to take self portraits is daunting and uncomfortable but I realised this is why I am doing the project in the first place. It’s to let other women know they are not alone in their stories and others can relate and I want them to know it is ok.

2. HER. Jade. This portrait of Jade, has been printed onto a circular mirror using the alternative process of cyanotypes. Jade's story highlights the disappointment and struggle she went through when she was diagnosed with PCOS (Polycystic ovary syndrome) a condition 1 in 10 women can have. Part of this condition many women struggle with is the chance of never being able to have kids. Jade was told by her doctor that she would never be able to have kids due to this condition. A right was taken away from her that day. However a few years later her beautiful boy Lomond was born who is now 10 months old. This portrait captured on the mirror is an image of Jade saying you were wrong and PCOS does not take away from my rights to be a mother.

3. HER. Kirstin. This maternity portrait of Kirtsin was printed on a serving platter that had a mirror as the tray using the alternative process of cyanotypes. Kirstin’s story represents the transition to motherhood. Kirtsin never believed she would be loved due to her loud personality traits since childhood. Over the years of transitioning into a woman Kirstin matured in ways she couldn't even imagine and is now carrying her first baby with a loving partner. It’s the anticipation of being responsible for someone else, when she was growing up being told that she was irresponsible, is the biggest challenge that Kirstin had faced. Making her more determined to prove everyone wrong.

4. HER. Madi. This portrait of Madison is what started the HER. project years ago however it has evolved from just portraits taken from a camera to using alternative processes such as cyanotypes. To create an interesting and meaningful significance behind these mirrors. This image was printed on an A2 sized mirror using the cyanotype process. Madi’s story is about feeling lost and left behind as at this time of her coming of age story, everyone around her was either going to uni, travelling, full time jobs, marriage and babies. Madison felt lost however even though she felt lost she enjoyed the small meaningful days in life especially when it is sunny and much to explore not only about the world around her but within herself.

CAITLIN EADIE

HER

‘HER’ is a series I have created for my last final major project for University at the City Of Glasgow College, of women's portraits printed onto mirrors using an alternative photography process known as a cyanotype. A process using light sensitive chemicals and the exposure of UV lights, that are then printed onto mirrors new and old. The concept of this project is to take women's coming of age stories from childhood to womanhood, that they have shared with me. I took the personal experiences the woman spoke about and translated it into a document style of portraiture. However I added the element of printing their portraits as cyanotypes on mirrors. As I believe the reflection of these women's stories also reflect on other women and girls. The main message that I am trying to deliver through this photography project is for our younger generation of women/ girls to look into these women's stories and themselves in the mirrors and know that they are not alone within the struggles they may face from the transition to childhood to womanhood.

Yanko Georgiev, Canterbury Christ Church University / BA Photography

YANKO GEORGIEV

UNDER A SEA OF PHONE LIGHTS, THE CROWD CONNECTS WITH THE ARTIST, CREATING AN UNFORGETTABLE MOMENT OF UNITY AND ENERGY. A NIGHT WHERE MUSIC AND MEMORIES SHINE BRIGHTEST.

A dynamic live performance captured in vibrant detail, where the artist (Skeete) and crowd connect under a sea of phone lights. This unforgettable moment highlights the unity and energy that define a night filled with music and shared memories.

Mackenzie Hall, BA (Hons) Photography Nottingham Trent

MACKENZIE HALL

B SIDES

The surrounding project from this series of images explores an observatory stance towards strangers acting out their daily lives, with a lack of awareness to who might be watching them, creating a perversive relationship between the photographer and subjects. But with the title ‘B-Sides’ the photographs are directed towards a slightly whimsical space, photographing the backs of people in the street, a part of the body that is rarely seen from one’s own perspective.

The slight humour from the photograph’s relationship to the title ‘B-Sides’ abbreviated from ‘Back Side’ shares a moderate playfulness in regard to street photography, focussing on a specific subject that people are uncontrollably unaware of.

One and Two 1

2. Three and Four

3. Five

4. Six

Alice Ives, Falmouth University - Marine and Natural History

ALICE IVES

MOTHER I

A portrait of my mum ironing

OLIVIA KUROWSKA

1. Tabb in her room

2. Daisy in her home

3. Cherry in her room.

4. Belle the Domme in her bedroom

LET ME BE YOUR FANTASY: THE WORLD OF ONLYFANS MODELS

A photography series on online sex workers predominantly using OnlyFans photographing them in their homes. Shot on medium format film. Predominantly dominated by men, the sex industry rarely gets looked at from behind the scenes, particularly from the perspectives of the sex workers themselves. While sex and nudity are omnipresent in everything from pornography to advertising and fashion, these uses are often superficial, merely tools for sales. I aim to delve deeper into this industry, focusing on the individuals within it beyond the surface level. My goal is to create a series of images that are not only playful and sexy but also empowering. These photographs are designed to captivate, inviting viewers to look more than once—not just because of their aesthetic appeal, but because they showcase people who exude confidence and defiance.

in Transit 01

Tradition in Transit 03

in Transit 02

Tradition in Transit 03

SISIRA MADDUMAGE

‘TRADITION IN TRANSIT'

‘Tradition in Transit', I explore the complex interweaving of identity, migration, and the enduring significance of cultural legacy. Through my camera lens, I document the moving journey of Sri Lankan dancers who have immigrated to the UK, bringing the colourful spirit of their ancestral traditions with them. Migration is not just about physical movement but also a fundamental alteration of identity and affiliation. These dancers face challenges in imparting their deep cultural knowledge to the younger generation while adapting to their new existence. In a constantly evolving world where distinct cultural expressions are frequently threatened by globalisation, their struggle takes on a universal and personal quality.

As part of a photography project, I had the opportunity to meet four traditional dance teachers and their successors in Leicester, Bracknell, and Colchester, in England. These dancers have beautifully incorporated the rhythms of their new home while seamlessly integrating elements of their Sri Lankan heritage into their performances. Through my photos, I aimed to capture the stories of adaptability and tenacity these dancers embody, showcasing how they successfully adapted to their new environment while still preserving their cultural heritage.

1. Aruna Shantha is a talented veteran dancer who immigrated to the UK. He comes from the renowned Kotawella family in Kandy, Sri Lanka, known for their expertise in traditional dance, drumming, blessings, and related rituals. Aruna is worried about the future of this art as there is a lack of interest from young people in learning the art. Location; Leicester

2. Maduka, originally from Sri Lanka, began learning dance from her teacher, Kumuduni, at the age of five. She later became a dance teacher and was selected to attend the National Performing Arts University. Now living in the UK, Maduka is the principal teacher at Hela Kala Theatre Dance School in Leicester. She has three daughters and has passed her dance skills on to them, creating a new generation of dancers. The photographs capture the beautiful connection between a mother and her daughters as they continue this rich tradition. Location; Leicester

3. Nandana is a veteran dancer specializing in the Sri Lankan Kandyan style, continuing the tradition passed down from his father. Now living in the UK with his wife and daughter, he is teaching his daughter the Kandyan style. While she is learning this traditional dance, she also has an interest in ballet. (Nandana with another performer, Location: Colchester)

4. Harshani started learning dance at age five from the renowned Kulasiri Budawatta Institute in Sri Lanka. She became an advanced dance teacher at a government school in Sri Lanka and now lives in the UK, where she is also an expert in making dance costumes. While Harshani loves Sri Lankan traditional dance, her daughter prefers ballet and might not be interested in Sri Lankan dance traditions. Location; Bracknell

Tradition

Tradition

CODY JAI MURRAY

ROOTS AND REFLECTIONS

Each portrait in this series highlights the unique personality and inner strength of the women portrayed, emphasizing their confidence and the stories they carry within. The series uses dramatic black and white tones to focus on the subjects' expressions and the intricate details of their hairstyles, which serve as invisible crowns that symbolise their inner power and beauty.

1. Nerea

2. Aijem

3. YiYi

4. Lili

AMBER MYLIUS-KING

A THIRD SPACE

‘A Third Space’ serves as an archive of what should have been. Drawing from late twentieth century fashion photography, the work explores underrepresented spaces and re-imagines people of colour in traditional contexts. ‘Third Space’ is a term coined by critical theorist, Homi K. Bhabha is defined by hybridity, when marginalised and dominant cultures meet to create something new and unrecognisable, a new area of negotiation of meaning and representation. In this “in-between'' space, new cultural identities are formed, reformed, and constantly in a state of becoming.” In dialogue with this theory, the work’s visual language is moulded by the relationship between the photographer and the sitter developed through music, dance, storytelling and cultural symbolism to fortify a third space where sitters are encouraged to shed their façade and be in a state of becoming.

1 Shelena, 2024

Shelena, 2024.

Aaliyah, 2024

Anne, 2024

Cheyenne Hall, Birmingham City University, BA

CHEYENNE HALL PRIDE

I'm always excited to return to my home in Barbados when counting down to summer In this piece, missing the familiarity of my island, I was inspired by our national flower, the Pride of Barbados. Researching common depictions of the Gods Neptune, Poseidon, and Britannia influenced the visual representation. These figures are, in one way or another, connected to the broken trident in our nation's flag

The African print from Ghana symbolises Barbado's history with slavery, further shown by the print's tridentlike pattern Surrounding myself with our national colours gives me a sense of familiarity, confidence, and 'PRIDE'. Even when moving and growing, I always remember where my journey started.

GABRIELLE THOMAS

INSIDE OUT

1. This image is depicting a Filipino man in his everyday casual outfit and in the inverted image dressed in traditional filipino attire.

2. This image is depicting a Nigerian woman in her everyday casual outfit and in the inverted image dressed in traditional Nigerian attire.

3. This image is depicting an Indian woman in her everyday casual outfit and in the inverted image dressed in traditional Indian attire.

4. This image is depicting a British woman in her everyday casual outfit and in the inverted image depicting her rural upbringing.

My aim with this series was to portray the vast cultural diversity of London while honing in on the concept of dual identity. Each subject is simultaneously depicted in their two identities, how they are viewed in their day to day as Londoners as well as when they are donning the attire of their cultural heritage. The inner-most image is obscured through the inverted colours to symbolise the way people often downplay their cultural connection in order to assimilate within a western society. If one were to enable the invert function on their phone camera they would be able to unveil the hidden image and view it in its intended colours, thus allowing the subjects second, more personal, identity to come out. (To view the hidden image go to: Settings > Accessibility > Display & Text Size > Classic Invert > view these images through your camera).

MARIAM YAQUB

MOTHER

This series seeks to continue the ongoing dialogue concerning parenting, feminism and societal ideas around motherhood. With far greater agency over our lives, women no longer are confined to traditional female gender roles; but with such progress the balance has not been fully addressed. Whilst women have more possibilities in their lives, they also have taken on more responsibility whilst the remainder of society has not changed at the same pace. My series looks at the overwhelm of motherhood; the chaos and alienation and desperation that we can all feel when our lives don’t match up to our desires.

Mother 1

Mother 2

Mother 3

Mother 4

FINLAY WRIGHT

THE FARMERS

This project is series of images that captures the faces of the hard working country people of Scotland, ranging from Grandfather to Granddaughter and others near by. I grew up in a farmhouse outside of a small town called Maybole. When growing up there I always heard the farmers near by already up hard at work early in the morning and the memories of this is what inspired me to create this project, all the images and characters I captured with my camera were taken at the farmhouse I grew up in.

1

Alex. Granddaughter of Cora

Jim. Country Worker

Cora. Wife of country worker

Bob. Country Worker

1. C and I hugging on the bed C's nine years my senior and my first partner into non-monogamy. Initially, things seemed promising between us, but over time, a lack of common ground became apparent. The emotional disconnect ultimately translated to a physical one. After a year, I decided to stop seeing him.

2. Me lying on K K's two years older than me. I like him as a friend, and we always have plenty to chat about whenever we met. We click in the bedroom too, so naturally, he became a regular thing. On a personal level, though, I barely know his family or friends. There's a definite emotional barrier, but it's a comfortable space for both of us.

MING YI SUNG

LOOKING FOR NIRVANA

3. Me hugging E from behind E and I met back in my home country Taiwan and we‘ve been seeing each other since 2020. In 2021, after he moved back to his home country Israel, it's been a bit of a long-distance thing, with us living in different countries half the time.

In 2022, after my move to the UK, E and I discussed opening up our relationship. While I began seeing C and K regularly, E chose not to pursue other connections himself. I feel completely safe with E, and he’s one of the few people I trust implicitly. I’m grateful for his openmindedness, because dating a Taiwanese guy might have gone a whole other way. I could have easily ended up being judged or even worse, having a scene caused.

4. Untitled (self-portrait) During the non-monogamous journey, it struck me that I'd been carrying the weight of childhood trauma. These painful childhood memories resurfaced, and instead of processing them, I shoved the pain down, punishing myself in the process.

Looking for Nirvana is a deeply personal exploration of non-monogamy and the unexpected self-realisation of childhood trauma. In 2022, after discussions with my partner E, we mutually agreed to pursue an open relationship structure. Our bond would be “the primary”, and any external connections would not develop into love affairs. However, while I began seeing others (C and K), my partner did not pursue external relationships himself. This experience triggered a process of self-reflection, prompting me to confront the impact of my childhood trauma on my current relationships and self-esteem. Drawing inspiration from the Sanskrit term Nirvana, as elucidated in Buddhist philosophy, the project signifies the liberation from all forms of suffering. Echoing the sentiments of the Stoic philosopher Seneca, who observed, "We suffer more often in imagination than in reality," this project investigates the complexities of how we imagine our own bodies and minds, exposing and confronting the misperceptions. Having grown up in Taiwan, where discussions about intimacy are often muted and traditional gender roles are still deeply rooted, along with being raised within a household lacking affection, I find myself grappling with the lasting impact of this upbringing on my relationships in adulthood. Looking for Nirvana thus becomes a feminist and introspective exploration, where the boundaries of intimacy are examined through phototherapy and self-reflective text. In my work I search for a path to inner peace, unravelling the complexities of how personal histories affect our lives and trying to reshape an understanding of love.reshape an understanding of love.

Category Finalists

Finlay Apps, Marine and natural history Photogrpahy, Falmouth

Lizzie Blackie, Falmouth University

Caitlin Britton, City Of Glasgow College BA Hons Photography

Jennifer Charlton, Edinburgh College/Kingston University BA Hons Professional Photography

Katie Clark, Trafford Collage BA HONS Photography

Calvin Conroy, Edinburgh College

HND Photography

Jack Currie, Edinburgh College - BA (Hons) Photography

Linda Jarrett, Falmouth University (Online) /BA Photography-MA

Photography

Linda Jarrett, Falmouth University (Online) /BA Photography-MA

Photography

Genny Sian, London Metropolitan University BA Photography

Clarissa Gurd , Edinburgh College of Art / BA (Hons) Photography

Rhonda House, Open College of the Arts/ BA Photography

Jed Hunt, Oxford Brookes University/ BA Photography

Matthew Marshall, Arts University Plymouth / BA (Hons) Commercial

Photography

William Niven, University of Cumbria, BA (Hons) Photography

Alex Smith, Staffordshire University

Emrys Thurgood, University of the West of England, BA Photography

Krasimira Yanusheva, Canterbury

Christ Church University, BA

Photography

Lavinia Zoica, London Metropolitan University - BA Photography

PLACES

Judge: Sachini Imbuldeniya, CEO House of Oddities

"Well what a tough category this was. It's refreshing to see so many fantastically diverse, considered and meaningful pieces of work from the next generation. It really does fill me with so much hope and positivity for the future of photography"

Rather than duplicate possible locations such as landscapes and architecture, we offer this category which provides unlimited opportunities. We promise that we will be as flexible as you need us to be.

#ProtectPromoteInspire

Matthew Marshall, Arts University Plymouth / BA (Hons) Commercial Photography

@mattmarshall photography

MATTHEW MARSHALL

In the build-up to Summer, Tinside Lido in Plymouth is painted before the onslaught of people wanting to soak up the sun arrive This image depicts a lone worker repainting the stripes to ensure the pool is back to looking its best for the locals and tourists to enjoy

GOLD WINNER & BEST IN SHOW

TINSIDE

Emrys Thurgood, University of the West of England, BA Photography

EMRYS THURGOOD

THE HOUSE OVER THE SEA

This image is a part of a wider project entitled ‘The Comforted ’ The story depicts the eponymous character’s anxiety and agoraphobia, and the element of comfort they reclaim through their self-imposed isolation Though they previously lived in the real world, they escaped to sea to avoid its overwhelming nature. This began their desperate obsession with the sea, though they are too small and weak to interact with it. Thus they remain companionless, living in their tiny, paper house held over the sea by another being who lives in isolation too

SILVER WINNER

Linda Jarrett, Falmouth University (Online) /BA Photography-MA Photography

LINDA JARRETT

UNDER DESTRUCTION

SILVER WINNER

On 18 December 2021, a catastrophic fire erupted in New Zealand’s Kaimaumau Wetlands. This devastating event, fuelled by three years of drought, resulted from human intervention in the form of a nearby agricultural fire that was permitted but not properly controlled. Over 2800 hectares of land fell victim to this inferno; wetlands that were home to endangered species alongside culturally important plants. The fire’s relentless grip endured for more than a year exacerbated by the nature of the soil (peat) and limited access to the affected area. Such destruction to this area significant for its ecological importance and as a vital resource for both nature and local communities, prompted me to shed light on the vulnerability of the wetlands, amidst imminent threats of wildfires and rising carbon emissions that compound the climate emergency. Whilst underscoring their environmental, cultural and historical importance as a significant place. To depict the real and re-imagined narrative of the Kaimaumau fire, I employed an indirect approach that encompasses both literal and metaphorical destruction through surface interventions. The title ‘Under Destruction’ explicitly reflects the methodology employed, wherein photographs undergo deliberate destruction to make way for something new, a process of regeneration. I investigated my representation of fire not just through the lens of my camera, but by employing fire as a tool to capture its essence visually. These black and white ‘negatives’ serve as symbolic representations of the charred forest and the adverse connotations of fire, whilst challenging the traditional boundaries of photography. Branding and numerical markings enhance the materiality and photographicness, whilst blurring the boundaries between science and art. The maker’s mark contributes to the indexicality, whilst the act of burning beyond the frame mirrors the uncontrollable nature of fire.

Under Destruction 1

Under Destruction 4

Under Destruction 3

Under Destruction 2

FINLAY APPS

UNTITLED FROM THE PROJECT VEINS

Cornwall, England's westernmost county, intertwines its rugged beauty with a rich mining heritage Its landscape, marked by slag heaps and engine houses, tells the story of a revered era of prosperity brought by the 18thcentury mining boom Despite its past innovations and international contributions, Cornwall faced economic decline due to global competition and falling metal prices, becoming one of England's poorest areas The discovery of significant lithium concentrations and the rise in tin prices promise economic renewal, a second Mining age. Yet, this resurgence prompts critical questions about the potential environmental impacts, the future of tourism, and the broader consequences of renewed mining activities "Veins" encourages contemplation on the duty to protect Cornwall's unique landscape and heritage in the face of new economic opportunities, showing the harmful impact mining's future could have on Cornwall

Elizabeth Blackie, Falmouth University

ELIZABETH BLACKIE

OUTLINES

Led by intentions of questioning, Outlines (2024) is an ongoing introspective enquiry into the self. Uneasy with my identity and sense of place in my environment, the series is both a work of fiction and documentation of an investigation into how we can formulate an understanding of the detached self. Alluding to the subconscious, the work brings attention to the restless moments of isolation and lack of connection that can be experienced with both people and environment. Beginning as a means to understand the inexplainable feelings I was experiencing at the time, I used visual imagery to articulate these struggles. Aiming to produce a series that follows a journey of reflection, this body of work comments on the existential state of the world we currently live in, the unknown futures caused by the continuous changes and state of fear surrounding us. Depicting fragments of dreams and nightmares, contemplating the known and unknown, rearranging visual perceptions of what is real. Outlines introduces a visual inquiry into how things can appear familiar but uncanny when one starts to question identity and place.

Image 1 from series 'Outlines'

Image 2 from series 'Outlines'

Image 3 from series 'Outlines'

Image 4 from series 'Outlines'

Caitlin Britton, University of Sheffield (MMedSci Speech and Language Therapy)

Yellow lines form the composition of this image, from the paint on the ground to the wellies and throwing of the hose. Another element that reflects the meaning of this project is the pops of blue that carries the focal point: The boy's sleeves in the middle ground leading the viewer to the triangle of interest of a child playing in the sand and the blue boat in the background.

Shown clockwise...)

Seagulls Calling.

The focal point of the seagulls allows for a deeper exploration into the image's background, showing happy beach goers and the buildings resting amongst cliffs.

Pensive

The image captures Newquay town through 3 perspectives. Us - we can see the man, a people watcher. The man - what can he see through the window? The reflection - Newquay town is bustling with people and bunting.

Jump

Newquay is known for beaches and sand. I thought this image conveyed the place by the low angle creating a small stream of water through rocks. The image incorporates how we interact with our environments and the added whimsy of a sunny day on the beach.

CAITLIN BRITTON

MUSINGS FROM NEWQUAY

In this project, I wanted to capture a place through mankind, and find compositions that had people interacting with the environment either through colour, movement, or objects. 'Catch!' and 'Jump!' show Newquay, Cornwall through movement, meanwhile 'Seagulls Calling' uses a tight composition through bars to frame two birds on a lamppost, two man made constructions that have changed the town. 'Pensive' uses reflection to portray the town in a different, more muted light, while still using pops of colour that follow my impressions of Newquay. With its sandy beaches and blue skies, it needs to be shown with vibrance.

Catch.

Jennifer Charlton, Edinburgh College/Kingston University BA Hons Professional Photography

Fiona.

“You know that time I said I was busy? I wasn’t actually, I was just at home, but I couldn’t come out. I started having menopause symptoms, my emotions went completely off the scale. You are in a vicious circle and there appears to be no way out. You’re not sleeping, you lose confidence, you have brain fog, you can’t remember what you’re meant to be doing and you just get lower and lower, then sometimes you think it would be easier if you weren’t here”.

(Shown clockwise...)

Jim.

“Whilst serving in the Airborne Forces I sustained a near fatal accident when my parachute failed to open, I had to learn to walk again and now wear a leg brace. I was able to return to duty and suffered from PTSD, survivors’ guilt after seeing friends die in Iraq that should not even have been there. I was behaving like I had a death wish, I needed adrenaline, going out looking for violence. Then the charities Combat Stress and Help for Heroes turned my life around, I was with men who all had the same dark sense of humour you only get within the Armed Forces. I then set up the charity Wounded Highlanders where we compete in highland games, have gone on to win world records and I have found something that not only helps others, but I can now channel all my energy into something with a positive outcome”.

Heather.

“The depression comes in waves, I feel so fragile, any confrontation totally screws me up, to the point where I feel sick. Just one person, that’s all it takes. At home I tend to put a lot of pressure on myself to make sure I do something perfectly which leads to procrastination and anxiety. Other days I just want to hide, because I must paint on a smile, its exhausting. With the sewing there's just a feeling of calm, peace, no harassment, no huge expectations. There’s a sense of achievement and helping others, it’s good for my self-esteem and confidence. To sit with other women just chatting and sewing, to be part of something”.

JENNIFER CHARLTON

John.

I was bullied in school, I was lanky and smart, liked reading and got picked on for that. Then In Covid I was depressed because swimming was my outlet and the pool closed. Swimming is the only thing I want to do; I train seven times a week and I am in the gym three or four times a week. I was feeling good then after starting Uni My granny died and I kept feeling like I was in this hole, no matter how hard I tried to scramble out, I just kept sinking further and further. In October I tried to commit suicide".

HIDDEN COMMUNITY

The work was the result of a research module Photography In Context accompanied by a critical essay investigating the role of photography entitled “Has Photography evolved from documenting and potentially stigmatising mental illness in contemporary practice”. We are living amongst a secret society, Mental Health does not discriminate, and we are surrounded by neighbours and loved ones isolated from one another, deprived of all the benefits being part of a community bestowal upon us. A lonely and insular existence of shame and inequality can be gently transformed to one of compassion and self-acceptance when we find the courage and generosity of gifting others with our stories and revealing our vulnerabilities. There will eventually be an end to the stigmatisation of Mental Health Issues when brave suffers step forward enabling transparency and the growth of a beautiful community where judgement does not exist, only support and compassion. Each Portrait was made in the subjects favourite location which brings them respite from their Mental Health Illness.

KATIE CLARK CITY

TAKEOVER

This piece of work is about how urbanisation along with modernization is taking over Manchester, slowly coming into the communities surrounding the city centre, ultimately trying to takeover the real city of Manchester

CALVIN CONROY

BOWDEN LOCH, MELROSE, SCOTTISH BORDERS

Bowden is a small village in Melrose As you enter the area, there is a loch that is off the beaten track and through some woodland It is a hidden gem that I have visited multiple times since making this photograph The beauty of the reflections in the water and being surrounded by the trees is something I am forever grateful for.

JACK CURRIE

TWO SIGNS

Two lonely signs, both helping each other without even knowing it

Jack Currie, Edinburgh College - BA (Hons) Photography @jack currie

Clarissa Gurd, Edinburgh College of Art / BA (Hons) Photography

The Source of the South Esk High in the Moorfoot hills near Edinburgh, the South Esk forms at the confluence of the Bowbeat and Long Cleave burns where it begins its meandering journey towards the Firth of Forth, above Edinburgh's coal seams.

Junkies Adit, Dalkeith Mine water discharge laced with iron oxide has been leaching into the South Esk near its confluence with the North Esk in Dalkeith Country Park, Edinburgh. Currently, monitoring is the only action the Coal Authority has taken to curb this ongoing environmental catastrophe.

Growth

Despite these avoidable harsh manmade conditions nature still survives albeit with reduced diversity —a testament to the landscape's resilience. This image depicts the riverbank, twenty metres from the mine drain where the pollutants are flowing into the South Esk.

Mouth of the River Esk, Musselburgh At the mouth of the Esk, oxygenated river foam transports iron oxide to the Firth of Forth and into the ocean. The decline in invertebrate and fish populations in the Esk River impacts the entire food chain, resulting in a permanent alteration of the river's ecology.

CLARISSA GURD

RIVERINE...AN ECOLOGY

This year marks the 40th anniversary of the miners’ strike, and consequently the end of the coal industry in the United Kingdom. Water, once pumped from collieries to prevent flooding, has slowly been rising in abandoned tunnels, absorbing minerals from exposed seams. Locally, 10mg of iron and 4mg of manganese per litre is leaching into the South Esk River near Dalkeith Country Park, coating the riverbed in iron oxide deposits, and inexorably altering the river ecology. Evoking thoughts about the intricate relationship between nature and human activities, the provided images serve as a poignant reminder of the environmental challenges we face in the Anthropocene epoch.

baskets.

The Walk Back Taken whilst walking back from the

farm.

Affects of the Sea

I spotted this ladder when walking back from the farm and decided to photograph it as, not only did it show the effects of the sea but it also showed great colour and minimalism.

JED HUNT

WHITSTABLE OYSTER COMPANY

In this project, I document the Whitstable Oyster Company over the course of nine months Focusing on the oystermen themselves in the water working, whilst also capturing portraits of them within the seascape. Within this project I try to focus on the textures, colours and faces of the oystermen and the environment around them, as I feel the effects of the environment can change drastically everyday whilst working on a seafront, having an effect on the oystermen and what's around them

Alex Brushing off the dried seaweed and sand on the oyster

oyster

Reginald Taken after working on the oyster conveyer belt during the morning.

LINDA JARRETT

SOLD

This image, which intersects photography with science, seeks to raise awareness of the use of rural farmland for building contentious housing developments, rather than restoring the land to its natural condition It considers the concepts of Ecological Imperialism and Colonialism, alongside the relationship between space and place. The alternative process utilised for producing this image was chlorophyll printing in which a positive transparency made from a photographic image was placed upon a Kawakawa leaf, a native plant of New Zealand that holds cultural significance, and exposed by the sun The indexicality of this image goes beyond the registration of an emanation, as some fragments of the plant continues to create its own image, allowing nature to produce a more precise depiction, reminiscent of the early days of photography. The resulting image is fragile and will continue to degrade, serving as a representation of the destruction brought about by construction.

Linda Jarrett, Falmouth University (Online)

William Niven, University of Cumbria, BA (Hons) Photography

WILLIAM NIVEN

ETHEREAL BODIES

Full Body Still

Multi-exposure image created by combing two separate colour film scans. One image was shot in Dalbeattie Forest of a tree trunk submerged in water by the edge of a loch. The other image a self-portrait shot in a studio of myself curled up into a ball.

Full Body Moving

Multi-exposure image created by combing two separate colour film scans. One image was shot in Dalbeattie Forest of a moss covered log, floating in a small pond of water. The other image is a long exposure self-portrait shot in a studio of myself moving along the floor.

Face Still

Multi-exposure image created by combing two separate colour film scans. One image was shot in Dalbeattie Forest of rippled reflections of trees in water. The other image a self-portrait shot in a studio of my face.

Face Moving

Multi-exposure image created by combing two separate colour film scans. One image was shot in Dalbeattie Forest of the view on the opposite side of the loch. The other image is a long exposure self-portrait shot in a studio of my head moving from side to side.

Ethereal Bodies employs photography to explore our sensory connection to nature. Utilising multiple exposures on colour film, a series of self-portraits are fused with landscape photographs, captured in the Scottish woodlands of Dalbeattie Forest, a cornerstone of my local, rural landscape. This series presents the viewer with two types of multi-exposure images, one in which the body is still and tangible, and another, in which the body appears ghostly and abstract. The work is primarily a personal investigation of the self, but also invites the viewer to immerse themselves into this landscape, allowing each viewer to personally explore the boundaries of their own relationship with the landscape. The work is inspired by Cuban artist Ana Mendieta’s Silueta series, Jennfier Calivas’ project Self Portraits Whilst Buried, and Sally Mann’s What Remains, which all analyse the human connection to land and space. Each image was made using a medium format camera and colour film. With consideration to the organic materials within the film, the produced images are grounded in the physical. They are photographed in a square format, the dimensions of the image are equal and are open to interpretation from all angles, for whoever is viewing them.

Prior to the photographic process, I engaged in a process called Forest Bathing (Shinrin Yoku) a Japanese practice of relaxation that involved slowing down my photographing process, being mindful of my surroundings and the nature within the landscape, to feel more connected to what I’m creating. Through my practice, I explore the natural environment, in and around Dumfries and Galloway in Southwest Scotland. I am interested in the tactility of the photograph and how this can challenge western approaches to the sensory nature of photography that extends beyond the visual. It is the lens through which I express my Autism, ADHD, and CVI, allowing me to share how I see, interact, and think about the world.

Genny Sian, London

GENNY SIAN

WELCOME TO AIRSTRIP ONE

Inspired by George Orwell’s ‘1984,’ Edward Hopper’s portrayal of alienation, and the aesthetics of cyberpunk culture, my project, aims to represent the solitude, isolation, and existential disconnection experienced by individuals within towering urban landscapes. Just as Orwell’s dystopian vision depicted the oppressive control of the Party in Airstrip One, this project examines the subtle yet pervasive forces contributing to the alienation of modern citizens. In a capitalist-dominated society, individualist values overshadow community, entangling us in consumerism, manipulation, and surveillance. Through visual storytelling, I express personal reflections on society, offering insight into our contemporary reality

Untitled 1, Untitled 2, Untitled 3, Untitled 4

ALEX SMITH

EXTRACTION

For my project ‘Extraction’ I have researched multiple industrial sectors that all share one commonality, they all subtract from the Earth. The use of aerial photography has presented an abstract, almost alien perspective of these places. However, despite the techno-sublime affect of these images, the questions brought about by their existence are serious ones. These industrial places, no matter how important to the economy and our ever-increasing quality of life, extract a heavy toll on their environment. There is a limit to how deeply these surface mines can excavate and how often we can treat local water supplies before their resources are depleted. Unfortunately, what happens to these areas afterward is usually of little concern to the companies responsible.

Croxden Quarry

Newport Quarry

Coven Heath Treatment Plant

Krasimira Yanusheva, Canterbury

Water Pollution

Picture of how improper chemical disposal and industrial waste may contaminate water supplies. The seriousness of the problem and its effects on aquatic life and human health are powerfully shown using the colour red and chemical symbols.

Air pollution

Informational poster with graphic discussing air pollution. It has text outlining the causes and effects of air pollution as well as a dark, textured visual effect that visually reflects the pollution.

Plastic Pollution

The image's text and chemical symbol both make it very evident that plastic pollution is a problem in the seas and other sources of water. The orangeyellow hues when paired with the green colour convey the message of pollution and the need for quick action.

Light Pollution Image about light pollution. It effectively conveys the problem of light pollution in a nighttime cityscape with bright lighting.

KRASIMIRA YANUSHEVA

ENVIRONMENTALITY

Given my passion for travel and capturing the diverse beauty of different places, along with the unique perspective provided by my drone, I have delved into research to align my photography style with broader themes of environmental awareness, nature preservation, and sustainability. Recognizing the powerful impact visual storytelling can have, I aim to leverage my photography not only to showcase the world's wonders but also to advocate for their protection and sustainable practices. The project aims to champion the protection of our planet's natural splendour and advocate for measures that prevent its degradation due to pollution. Emphasizing the urgent need to safeguard its diversity and avert ecological harm through climate action. By harnessing the capabilities of digital manipulation, I aim to capture attention, evoke emotions, and provoke contemplation, compelling viewers to confront the profound challenges faced by our planet due to pollution. The images have been designed as advertising agency posters, supporting an environmental organization in advocating for positive actions to combat pollution. Each image will prominently feature the logo and name of the organization, termed "environmentality." Each picture will depict distinct aspects of pollution: water, air, plastic, soil, and light, symbolized through colours and chemical elements representing pollutants found in nature. The mixed media aspect will represent a combination of the images with graphic elements, such as mesh for mapping the images with polluted parts of the environment, chemical elements, informational text, and colours. Employing a dual approach, half of the images will undergo black and white manipulation, while the remaining half will be inverted in colour using Photoshop. The project will determine the size and type of paper on which the posters will be printed.

LAVINIA ZOICA

SILENCE

In the quiet stillness of a house once brimming with life, "Silence" is a poignant photographic exploration of absence, longing, and the inevitable flow of time. Set in the house where I grew up, now inhabited only by my mother, this series seeks to capture the emotional and physical landscapes shaped by the memories of a family that once filled its rooms. Through my lens, I focus on the remnants and traces left behind. Each image serves as a testament to the days gone by. The project is not just about capturing the essence of physical objects but is a deeper reflection on the impermanence of life and the void left by loved ones who have moved on. The photography is deliberately slow, considering how light interacts with the objects and empty spaces. Shadows play a significant role in the narrative, suggesting presence through absence. In "Silence", I also attempt to convey a sense of continuity despite the palpable discontinuities. The photographs of seemingly mundane objects—a pile of firewood, a dried leaf, a cobweb, are the connective tissue linking the past to the present. They remind us that life continues with its ephemeral beauty and inevitable decay. Accompanying each photograph are captions that weave in personal memories, brief yet vivid recollections of moments shared in each frame's focus. This narrative layer invites the viewer to move beyond mere observation, urging a deeper engagement with the emotional resonance of the spaces and objects depicted. "Silence" is more than a photographic series; it is an intimate journey through the heart of family memory, exploring the bonds that tie us to time and place, even as both slip away.

THINGS

Category Finalists

Petya Abraham, London

Metropolitan University

Petya Abraham, London

Metropolitan University

Craig Bennett, University of Cumbria / BA (Hons) Photography

Jack Currie, Edinburgh College - BA (Hons) Photography

Georgia Eason, Arts University

Plymouth - BA (Hons) Commercial

Photography

George Eccles, Norwich University of the Arts, BA Photography

Reeve Hart, University for the Creative Arts / MFA Photography

Tyrone Jordan, Newcastle College University Centre

Anna Krypska, London Metropolitan Uni, BA Photography

Kathryn McGeary, BA Photography, London Metropolitan University

Euan Mclean, Newcastle College University Centre

Gemma McNaughton, Edinburgh College / HND Professional

Photography

Lavinia Pascariu, BA (HONS)

PHOTOGRAPHY including foundation year at LONDON METROPOLITAN

UNIVERSITY

Ritika Shaiva, University of the Arts

London - MA Commercial

Photography

Maria Strang, The City of Glasgow College - BA Hons Photography

Emma May Thomas, Nottingham

Trent University - Photography BA (Hons)

Jiali You, University of the Arts

Judge: Frankie Turner, AOP Accredited Photographer. GOLD Winner 38th AOP Photography Awards - Food and Drink

“The things category this year was full of interesting objects, and stories. Overall my finalist[s] for this year's awards came from a combination of photographers that were taking photographic techniques and applying them in an interesting way, with a considered approach to their final outcome.”

London - Commercial Photography (MA) ...

This category covers almost everything else. Think Irving Penn’s found objects, Mapplethorpe’s flowers, Ori Gersht’s explosions, cats, dogs, bats and monkeys by Tim Flach, and sublime still-lifes by Richard Maxted and then make something unique and sensational of your own. We can’t wait to see your work.

CRAIG BENNET

BEACONS – ILLUMINATING NATURE'S HIDDEN PATHWAYS

‘Beacons’ is a leap into the fusion of art and science, utilising various techniques, from light painting, UV-induced visible fluorescence (UVIVF), and the boundless possibilities of digital media. It is a journey marked by experimentation with unconventional methods and materials, where technology becomes an integral part of the creative process Driven by my interest in the use of light to manipulate images, I embarked on a project exploring ultraviolet (UV) photography to capture the unseen details in flowers Flowers etch intricate UV patterns on their petals, invisible to us but vivid to pollinators These cryptic markings serve as visual beacons, guiding pollinators through the floral landscape like a spectral map toward nectarrich centres. Bees, butterflies, and other insects perceive UV light as a secret language, a spectral Morse code leading them to sustenance.

"Beacons" captures this silent dialogue, where petals map the way and pollinators follow starry trails Fluorescence and pigments come alive under UV light Anthocyanins and flavonoids respond to these wavelengths, revealing a hidden luminescence within petals, stems, and leaves The monochromatic images capture this fleeting fluorescence of molecular interactions. The metaphor of flowers as celestial maps is central to this project. Petals and stamens form patterns that guide pollinators through the environment with each pollen grain glistening like a fragment of stardust. Through ‘Beacons’, viewers are invited to contemplate the interconnectedness of all things, from the smallest flower to the vast expanse of the universe. It is an invitation to find awe and inspiration in the everyday wonders of nature, to see beyond the visible, and to appreciate the silent dialogues that guide life on our planet

GOLD WINNER

Craig Bennet, University of Cumbria / BA (Hons) Photography @CsB imagery

Welsh Poppy Black and white UV photograph of a flower

British Iris Black and white UV photograph of a flower

Aquilegia Black and white UV photograph of a flower

Rhododendron Black and white UV photograph of a flower

Gemma McNaughton, Edinburgh College / HND

GEMMA MCNAUGHTON

NATURE MORTE VIVANTE

Creating a Flemish style still life, I was inspired by Salvador Dali's 'Nature Morte Vivante', 1956 (Still Life –Fast Moving) 'Illustrating that our world of solid objects is made of subatomic particles in constant motion Though elements in the composition are in motion, there is a sense of suspended time '

Suspending everyday objects, which in turn hold their own symboism within the historic Flemish paintings Apple for temptation, roses for love and vanity, exotic luxuries such as sugar Combining the surrealism of Dali and symboic realism of flemish.

Abstraction Of Leaf I, series Fall In, 2023-2024

Abstraction Of Leaf II, series Fall In, 2023-2024

Abstraction Of Leaf III, series Fall In, 2023-2024

Abstraction Of Leaf IV, series Fall In, 2023-2024

PETYA ABRAHAM

FALL IN

“Soldiers. It feels like in autumn on the trees leaves”. Guiseppe Ungaretti Courton Forest, July 1918. ‘Fall In’ is a deeply personal project, inspired by the daily walks alongside my daughter, who was collecting autumn leaves and offering them as gifts. These moments of joy were contrasted starkly with the grim scenes on the news of ongoing wars, where schools were ravaged, and innocent lives lost. I found a reflection in Giuseppe Ungaretti’s poem, “Soldiers”. Writing amidst the turmoil of World War I, in Courton Forest, in July 1918, he likened the uncertain lives of soldiers to the autumn leaves, each unsure of when they might fall. More than a century later, in a different forest, my two-year-old daughter found joy and wonder in these same fallen leaves. For her, they were not symbols of uncertainty or loss, but “treasures” to be gifted.

The stark contrast between my daughter’s innocence and the harrowing realities faced by children in conflict zones compelled me to use photography to embed the leaves with a symbolic charge of these opposing worlds by employing techniques that blur the boundaries of abstraction and perception. Long exposures stretch time, allowing for the contemplation of diverse perspectives, while distortion serves as a metaphor for the fluidity of meaning, inviting viewers to explore their interpretations. Having started photographing leaves last autumn, I’ve captured hundreds of still lifes, each leaf embodying its own story of survival and death. Together, these images form a body of work that speaks to the universal human experience, highlighting the delicate balance between beauty and resilience in the face of life's ultimate threat. Through this project, I aim to remind viewers of our shared empathy and connection amidst life's complexities.

Petya Abraham, London

PETYA ABRAHAM

TIME GRINDER

As an artist, I find myself deeply moved by the relentless passage of time, a theme I’ve sought to capture in my work, “Time Grinder”. This piece was conceived during a busy period, where I was balancing fulltime work, academic pursuits, and the joys and challenges of raising a toddler. Amidst the cacophony of daily life, I found inspiration in Ray Bradbury’s book “Farewell Summer”, where he compares a clock to a gristmill, grinding years into months, and months into days “Time Grinder” is a visual exploration of this concept It presents time as an endless grinder, quietly but inevitably shaping our lives The video portrays a clock transforming into a grinder, each sound echoing a different stage of life - a testament to the symphony of sounds that punctuate our existence. Through this work, I aim to invite viewers to reflect on their relationship with time and appreciate its value. I hope to inspire others to use time wisely, reminding them of its constant presence and urging us all to cherish every fleeting moment.

Petya Abraham, London Metropolitan University @petya abraham

Jack Currie,

JACK CURRIE

FINDING BALANCE IN DISSONANCE

The complex harmony of contrast. For me as an artist, contrast is essential for creating balance and harmony, showing how opposing elements can complement and enhance each other to create some new and beautiful in its own right This can be used as a metaphor to show how a difference in culture and opinions is not only essential but should be encouraged, rather than turning to futile conflict to squeeze out meaningless answers Let the beauty of the dissonance stand alone as a testament to our beloved individuality

Tenzing, a merle border collie sitting with his head tilted on a sage green background in a studio. He has two different coloured eyes, one yellow / brown and one blue.

Gerald and Joey Gerald; a white standard poodle and Joey; a white toy poodle, sitting next to each other on a light blue background. Joey has rainbow dyed ears. They are both looking into the camera.

Gerald, a white standard poodle looking to the side on a black background.

GEORGIA EASON

BEACONS – ILLUMINATING NATURE'S HIDDEN PATHWAYS

For my Final Major Project at University, I have compiled a series of captivating images that reflect my deep passion for dog photography This project stemmed from a personal project where I explored the unique bond between dogs and their owners, carefully presenting final work within a fully curated photo book. The joy that dog photography brings, not just to me, but also to the dogs’ owners, is truly indescribable It’s a shared experience filled with laughter, love, and cherished memories captured forever

Tenzing

Gerald

GEORGE ECCLES

ORIGAMI EXPLORATION: WATCHES

A set of images from a wider project exploring the use of paper sculptures, scenes and subjects with various products These images are the final pair working on combining watches with paper structures within the camera

Origami Exploration-Watches: Black & Gold

Origami Exploration-Watches: Dial of Pearl

REEVE HART

92,000,000,000

92,000,000,000 is a series of photographs created by Reeve Hart from 2022-2024, consisting of livestock animal portraits, documentary images depicting slaughterhouses and constructed photographs of sentient beings dressed in raw meat. The work aims to inspire empathy for the 92.2 billion land animals annually killed for meat. By juxtaposing meat with the animals it derives from, the project addresses our disconnected relationship between the food we eat and its origin.

92,000,000,000 (1) Chicken covered in raw meat.

Reeve

92,000,000,000 (2) Lamb with raw meat mask.

92,000,000,000 (3) Cow with raw meat mask.

92,000,000,000 (4) Duck covered in raw meat.

Wendy has just taken her steroids

Vintage picture postcard front alongside my own image printed on the verso with a quote from the original postcard below.

RHONDA HOUSE

WISH YOU WERE HERE

This series examines the city of Plymouth through the visitors of the post-War era and the postcards they sent from their visits. The messages they sent were not of grand voyages but were concerned with friendships, relationships and everyday worries. The original postcard images from this particular set were created in part to showcase the newly rebuilt post-war city of Plymouth, designed by esteemed town planner Patrick Abercrombie and city engineer J Paton Watson. The new city was highly regarded and juxtaposed many modern, concrete buildings alongside the historic architecture of Plymouth’s past, creating a rich palimpsest of different eras all telling the dramatic story of Plymouth’s near destruction and regeneration.

Key to this rebuild were the trees that were precisely positioned in accordance with Abercrombie’s plan. Planted as young saplings, they stood over Armada Way for around seventy years, silent observers of the city’s everyday activity, their own soundless community existing in harmony with ours until early in 2023 when 110 trees were cut down under cover of the night as part of the City Council’s new plan for the city. Witnesses to over half a century of the city’s evolution, this community of nature’s affinity with humanity has now been severed in the name of ‘development’. This is a story of the city and those who passed through it during the time of the Armada Way Trees.

1. Miss Chatfield is a perfect dear

Am thinking of you all

Hope May is better

TYRONE JORDAN

ABSTRACT GRAPEFRUIT

The image was shot using a light box setup to get the light to shine through the fruit

Tyrone Jordan, Newcastle college (BA Photography)

photo

ANIA KRYPSKA

BETWEEN NOWHERE AND I

Just like a split eyelash blurring my vision, the lines between what is real, what is not, and what is perhaps imagined becoming blurred as well In this way, the film becomes both a personal reflection and a collective exploration of the interplay between the conscious and unconscious aspects of our life, our perception and action after all I captured these images using various magnifiers, lenses, glass objects to distort familiar perspectives and create space to question the nature of reality and the limits of our understanding unconscious aspects of our life, our perception and action after all.

Ania Krypska,

Kathryn McGeary, BA Photography, London Metropolitan University

KATHRYN MCGEARY

RECLAIMING EDEN

Flowers have long served as metaphors for femininity, embodying qualities such as youth, fragility and perfection while also symbolising nurturing and growth They are often gifted to women and associated with goddesses and female deities across various cultures Traditionally, artists have depicted flowers at the peak of their bloom, celebrating their lushness and vitality. ‘Reclaiming Eden’ seeks to redefine this conventional narrative, challenging and re-evaluating the traditional symbolism of flowers. The series is also a tribute to female Victorian artists who, constrained by societal norms, were often restricted to painting flowers - works which were subsequently marginalised by a patriarchal art world In this series, I deliberately spotlight specimens past their full bloom to highlight their strength and resilience With drooping heads and dried-out petals, these images seek to counter homogenous, mainstream ideals of beauty, instead celebrating the allure of faded elegance, subtle imperfections and natural decay. The cyanotype process used in this work is a deliberate homage to Anna Atkins, the 19th-century botanist and cyanotype pioneer overlooked by art historians for nearly 150 years.

Reclaiming Eden 1 - 4 Cyanotype on Hahnemühle Platinum Rag

This campaign poster, crafted for the World Wide Fund for Nature (WWF), features a striking whale created entirely from a black bin liner. Through meticulous Photoshop work, I constructed every layer and element from scratch, transforming the initial image into the powerful visual statement you see now, bringing awareness to the viewers. Euan

EUAN MCLEAN

TRASH IN THE OCEAN

Lavinia Pascariu,

LAVINIA PASCARIU

BENEATH THE SURFACE, 2024

In my photographic series, I explore the essence of femininity through a collection of portraits featuring female mannequins. These figures, with imperfections, serve as powerful symbols of the unfiltered reality of the female experience By showcasing their damaged forms, I aim to reveal the raw emotions and hidden strengths often obscured by societal norms This project challenges the notion of resilience as a mere façade, inviting viewers to confront the authentic complexities of womanhood Ultimately, it serves as a reminder of the enduring strength and vulnerability that define the female narrative

Beneath the Surface 1 - 4 Scanned salt print from a digital negative on Hahnemühle Expression paper

RITIKA SHAIVA

EXQUISITE RUBBISH

Materialistic greed, characterised by an insatiable thirst for material possessions and wealth, often disregards ethical and environmental considerations In the context of environmental issues, materialistic greed can manifest in irresponsible disposal practices, leading to the dumping of waste, including plastics and other pollutants, into the ocean This series aims to make a sarcastic comment while acknowledging our societal inclination towards materialism It highlights the ironic reality that even to draw attention to an environmental issue, we resort to visually appealing images, then building curiosity about the subject. We are captivated by the fascinating side of consumption but often turn a blind eye to the unattractive aftermath, of waste and destruction that we, as a society leave in our wake.

Ritika Shaiva,

Exquisite Rubbish 1-4

Maria Strang,The City of Glasgow College - BA Hons Photography @mariastrangphoto

Clearances of Asainte - Fragments II

Clearances of Inchnadamph polaroid emulsion stone 2. My project is a personal explorative series which documents the fragments that remain from the Highland Clearances in the county of Sutherland and parish of Assynt. I have linked the enduring remains of cleared crofting townships, built of the ancient rocks which are scattered throughout the county by using the same rocks to display polaroid emulsion lifts. The ever-existing ancient rocks endure in a similar way to the spirit of the people that used to inhabit these buildings.

Clearances of Asainte - Fragments I

Clearances of Asainte - Spirit

Spirit represents the historical significance of horses within rural communities dating back 200 + years ago.

MARIA STRANG

CLEARANCES OF ASAINTE

My project is a personal explorative series which documents the fragments that remain from the Highland Clearances in the county of Sutherland and parish of Assynt I have linked the enduring remains of cleared crofting townships, built of the ancient rocks which are scattered throughout the county by using the same rocks to display polaroid emulsion lifts. The ever-existing ancient rocks endure in a similar way to the spirit of the people that used to inhabit these buildings. In documenting the ancestral lineage of locals through environmental portraiture I have made a comparison to current rural working lives Repercussions of this mass exodus within Assynt and throughout the Highlands can be felt today through continued depopulation

EMMA MAY THOMAS

PISSED OFF DOGS

Performed rather than represented, we create fictional personas for our pets, applying human entities to them so they align with a more human ideal ‘Pissed Off Dogs’ is a series of photographs featuring different dog breeds facing away from the camera against a midnight blue backdrop Despite the humorous title, the work aims to juxtapose anthropomorphism, suggesting that the dogs may dislike being anthropomorphised The absence of the dog's face frustrates our inclination to personify animals, yet it does not entirely hinder our ability to interpret them. We can still identify the dogs’ breed from their shape and markings. Additionally, the title contributes to our interpretation In crafting these images, I aim for impact with understated presence The backlighting creates a vignette and rim of light, putting the dogs in the spotlight emphasising the dogs as performers This amplifies the work’s impact, as the dogs turned backs silently challenge viewers, prompting reflection on their orientation and apparent discontent

Ritika Shaiva,

Exquisite Rubbish 1-4

JIALI YOU MOTHER'S ROOM

Mother's room - 1

Mother's room - 2

Mother's room - 3

Many people are unaware of the significant physical risks of postpartum childbirth for women, and the role of "mother" is being discriminated against in various workplaces. Their bodies and minds are undergoing immense suffering.

Mother's room - 4

This is a feminist project titled "Mother's Room," which addresses the myriad difficulties and pains women encounter on physical and psychological levels in personal life and social relationships after childbirth It is a large-scale art installation, and contemporary photography merges the art installation and photography to form the artwork All materials used in this room are items genuinely used by real mothers, including one of my friends who suffers from severe postpartum depression When viewers come before this installation, they can emotionally connect with the real experiences marked by the traces of these used items, almost immediately sensing their true stories. Many people are unaware of the significant physical risks of postpartum childbirth for women, and the role of "mother" is being discriminated against in various workplaces Their bodies and minds are undergoing immense suffering When the risks and costs of childbearing for women remain blurred, hidden, and conventionally kept silent; When the concept of great maternal love becomes an ideology perpetuated to sustain society, politics, and economies, while shaping the perception of being a woman; When stepping into the role of a woman means entering a falsehood of preconceived happiness, depriving them of the ability to express the impact of their endlessly patient, self-sacrificing devotion to those they care for, at the expense of their own personality and needs; The touting of "motherhood" has forever tied women to the "great mother" role. In claiming this title, she is forced to accept the ensuing unfairness imposed upon her by society The purpose of this project is not to instill fear of childbearing in women but to reveal the unspoken truths before giving birth By reclaiming autonomy as mothers, women can no longer be deceived by society and can regain their right to speak Only in this way, every mother becomes a free mother, and every daughter becomes a free daughter