BA Top-Up Photography · OPEN ALL HOURS · Graduate Publication 2022

A G O R

B O B

H O U R S

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O P E N A R

A W R 2022 2022

Kye Hill Georgia Bolderson Bethan Smale Kirstyn Thomas Raven Gough Konrad Gwozdz Beth Alderman Lynne Hughes-Williams Kerri Mathias

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Rhagymadrodd Introduction BA Ffotograffiaeth Atodol Mae’r graddedigion y gwelwch eu gwaith yma wedi llwyddo i oresgyn heriau sylweddol dros y blynyddoedd diwethaf. Ar ôl cwblhau eu Gradd Sylfaen mewn Ffotograffiaeth yn un o’n colegau partner, fe ymunon nhw â ni i gwblhau blwyddyn atodol i raddio gyda gradd BA (Anrhydedd) Ffotograffiaeth. Gall dod i Gaerdydd, efallai o bentrefi a threfi bach gyda chymunedau clos, godi braw, ac felly hefyd wynebu astudiaethau blwyddyn olaf rhaglen israddedig. Maen nhw wedi ateb yr her gyda hiwmor ac urddas, ac wedi creu prosiectau diddorol a phryfoclyd dros y naw mis diwethaf.

Yma gwelwn dystiolaeth o chwilfrydedd, dychymyg a gwaith caled diflino’r ffotograffwyr penderfynol hyn. Yn archwilio materion mor amrywiol â’r broses o fasnacheiddio rhywedd, ffasiwn cynaliadwy a mewnfudwyr o wlad Pwyl i Ferthyr Tudful, maen nhw wir wedi gweithio bob awr i gynhyrchu darnau terfynol y gallan nhw fod yn wirioneddol falch ohonyn nhw.

Mae Caerdydd yn ganolfan ffyniannus o weithgarwch creadigol a chyfleoedd i raddedigion disglair a thalentog, dinas lle mae lle i bawb ffynnu a llwyddo. Rydyn ni’n gwbl argyhoeddedig mai dyna fydd hanes y graddedigion hyn, a dymunwn yn dda iddyn nhw i gyd!

BA Top-up Photography The graduates whose work you see here have successfully overcome considerable challenges in recent years. Having completed their Foundation Degree in Photography at one of our partner colleges, they joined us to complete a ‘top-up’ year in order to graduate with a BA (Honours) Photography degree. Coming to Cardiff from what may be small villages and towns with tightly-knit communities can be a daunting prospect, as is facing the rigours of final-year undergraduate study. They have handled their transition with good humour and grace, and have created some engaging and provocative projects over the last nine months.

Here we see evidence of the curiosity, imagination and relentless hard work of these determined photographers. Exploring issues as diverse as the commodification of gender, sustainable fashion and the Polish immigrants of Merthyr Tydfil, they have indeed worked all hours to produce final outcomes of which they can be justly proud.

Cardiff is a thriving hub of creative activity and opportunities for bright and talented graduates, a city where there is space for all to flourish and succeed. There is no doubt in our minds that these graduates will soon be doing exactly that, and we wish them well!

Celia Jackson

Cyfaredd y Cyffredin / Reasonably Glamorous

Mae’r cylchgronau ffasiwn, Gala’r Met yn Efrog Newydd, y carped coch mewn gwyliau ffilm i gyd bob amser yn llawn enwogion sydd â’r cyfoeth i fforddio dillad gan ddylunwyr blaenllaw ac sy’n bachu ar bob cyfle i ddangos mor gyfoethog y maen nhw. Fy nod yw dangos y gall unrhyw un edrych yn debyg i’r enwogion hyn ond gyda’u harddull a’u steil unigryw a gwreiddiol eu hunain, a hynny ar gost resymol.

Kye Hill

Dangosir amrywiaeth o leoliadau cyffredin dan do ac awyr agored i gyfleu’r lleoedd y mae pobl yn eu defnyddio yn eu bywydau bob dydd, fel ceginau, llwybrau cerdded a strydoedd gwag.

Roedd hyn yn teimlo’n briodol ar gyfer cynhyrchu ffotograffau o ffasiynau cyfoes, i gryfhau fy thema a’r neges sydd yn y delweddau ar gyfer y gwyliwr: sef y gallwch chithau edrych fel yr enwogion, ond am gost resymol.

The pinnacle of fashion is always expressed as being elegant and portrayed beautifully throughout fashion magazines, the Met Gala in New York, red-carpet premieres and more, giving celebrities with the luxury of designer clothing the opportunity to show off their wealth. My aim is to make anyone look like a celebrity with their own refreshing and original style, put together within a reasonable budget.

A range of indoor and outdoor locations are shown to reflect the places people use in day-today life, such as kitchens, outdoor footpaths and empty streets. This seemed a fitting strategy for producing high-end fashion shoots, to strengthen my theme and enhance the images’ message to the viewer: that you can also look like a celebrity but at a reasonable cost.

Traethlinau Sentimental / Sentimental Shorelines Georgia Bolderson

Mae’r prosiect hwn yn ymwneud â’r atgofion ffughiraethus sydd gennym am “ddyddiau gwell”, ac mae ganddo’r nod o’u hailddehongli ar gyfer y presennol. Penderfynais bortreadu trefi glan môr yng Nghymru oherwydd, yn y gorffennol, dyma’r unig lefydd y gallai teuluoedd fforddio ymweld â nhw fel cyrchfannau gwyliau. Mae atgofion am wyliau yn aml yn gysylltiedig â thraethau dramor, ond dewisais dynnu lluniau o’r lleoedd nepell-ogartref rydyn ni i gyd yn gyfarwydd â nhw.

Mae fy lluniau’n dangos sut mae lleoedd wedi newid a datblygu o’r atgofion sydd gennym ohonyn nhw, efallai, ond maen nhw hefyd yn credu teimlad i’r gwyliwr ei fod yn pori drwy albwm lluniau personol. Er bod y rhan fwyaf o drefi a phentrefi wedi tyfu, a phensaernïaeth fodern wedi’i hychwanegu, mae ynddynt ymdeimlad o dreftadaeth a diwylliant sydd ynom o hyd o’r gorffennol. Mae’r delweddau’n rhoi cipolwg i’r gorffennol hwn, fel y mae albymau teuluol wedi’i wneud erioed.

This project concerns the false sense of nostalgia that we hold of “better times”, but aims to recontextualise them in the present day. I decided to capture coastal towns within Wales as, in the past, they were often the only holiday destinations that families could afford to visit. Memories of holidays are often associated with overseas beach locations, but I chose to photograph the close-tohome places which we all know.

My pictures show how places have changed and developed from how we may remember them, but also suggest to the viewer that they are looking into a personal photographic album. Although most towns and villages have grown with the addition of modern architecture, there is still a sense of heritage and culture which we hold from our past within them. The images provide a glimpse into this past, as a family album has always done.

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Ffasiwn Bohemaidd / Boehmian Fashion Bethan Smale

Bu gennyf ddiddordeb mewn ffasiwn ers fy arddegau cynnar, ac rwyf wedi dotio ers blynyddoedd ar gylchgronau ac erthyglau nodwedd am ffasiwn. Mae’r rhain wir wedi tanio fy angerdd dros y pwnc. Ar gyfer y prosiect hwn, creais stori olygyddol gyda delweddau’n cynnwys amrywiaeth o ffotograffau corff llawn, delweddau agosach a rhai manwl iawn yn dangos yr ategolion. Creodd hyn waith oedd yn weledol gryf a dymunol o ran ei estheteg, ac roedd iddo lif diddorol. Drwy ddefnyddio amrywiaeth ehangach o onglau a thynnu ffotograffau o’r ategolion yn ogystal â’r modelau rwyf wedi ehangu fy nhechneg i adlewyrchu lefel y manylder sydd ei angen ar gyfer ffotograffau ffasiwn proffesiynol.

Ysbrydolwyd fy nghysyniad gan gasgliad Gwanwyn 2022 Ralph Lauren yng nghylchgrawn Vogue. Thema’r haf oedd i’r casgliad hwn, ac fe ddylanwadodd arnaf i dynnu’r lluniau ar y twyni tywod ym Merthyr Mawr ac Aberogwr. Gweithiais gyda dau berson sy’n modelu gyda chwmni Emkaimodels. Des i o hyd i’r llall drwy Instagram.

I have been interested in fashion since my early teens, focusing for years on magazines and editorial spreads, which has fuelled my passion for the subject. For this project I created an editorial story with images including a variety of full body shots, close-ups and more detailed images to showcase the accessories. This ensured visually strong and aesthetically pleasing results, and an interesting flow of work. By using a wider diversity of angles and photographing the accessories as well as the models I have expanded my photographic techniques to reflect the level of detail shown in professional fashion photoshoots.

My concept was inspired by the Ralph Lauren Spring 2022 collection featured in Vogue magazine. The summer-based theme influenced me to create a shoot on the sand dunes at Merthyr Mawr and Ogmore-by-Sea. I engaged with Emkaimodels to hire two models for one of the shoots, and worked with a new model with whom I formed a connection via Instagram.

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Hoff Brydau Teuluol Kirstyn / Kirstyn’s Family Favourites Kirstyn Thomas

Ar gyfer y prosiect hwn, creais lyfr coginio o’r enw Hoff Brydau Teuluol Kirstyn. Rwyf wedi cynnwys casgliad o ddelweddau clir a chryno sy’n dangos amrywiaeth o brydau, gan gynnwys crempogau blasus, cinio rhost traddodiadol a phwdinau hyfryd fel teisennau brau’r miliwnyddion. Mae cynnwys amrywiaeth o ryseitiau yn golygu bod modd dangos gwahanol agweddau ar ansawdd a lliw bwydydd. Er enghraifft, gall lliwiau llachar y gwahanol lysiau, sy’n aml yn cael eu hanwybyddu os nad nhw yw prif elfen pryd penodol, gael eu dangos mewn ffordd greadigol.

Roeddwn i eisiau creu llyfr coginio gan fod llyfrau o’r fath yn boblogaidd iawn ledled y byd, yn enwedig yn ystod y ddwy flynedd ddiwethaf, gyda chyfnodau clo mynych yn arwain at fwy o ddiddordeb mewn coginio. Felly, penderfynais fanteisio ar hyn a chreu llyfr coginio digidol y gellid ei rannu ar-lein, yn ogystal â’i argraffu gan y gwylwyr os mai dyna’u dymuniad. Mae fy ffotograffau’n dod â dŵr i’r dannedd, ac yn rhoi darlun cywir o sut gall prydau edrych os cânt eu paratoi gan rywun heb unrhyw hyfforddiant coginio, i ddangos nad oes angen sgiliau arbennig i greu prydau o’r ansawdd hwn.

For this project I created a cookbook called Kirstyn’s Family Favourites. I have included a clear and concise set of images picturing a variety of dishes, including delicious pancakes, a traditional roast dinner and indulgent desserts such as millionaire’s shortbread. Focusing on a variety of recipes means that different textures and colours can be highlighted. For example, the vibrant colours of the various vegetables present can be shown in a creative way, instead of being ignored as they may not be the main focus of the dish.

I wanted to create a cookbook as they are widely popular across the world, especially within the last two years, with repeated lockdowns leading to a greater interest in cooking. So, I chose to build on this concept by creating a digital cookbook which can be shared online, as well as printed by the viewer if they so wish. My tempting photographs give an accurate view of what the meals can look like if made by someone without any culinary training, to show that there are no special skills required to produce dishes of this quality.

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Ddim fel y Merched Eraill / Not Like The Other Girls Raven Gough

Y Ffantasi / The Fantasy

Mae trawsnewid i fy ngwir hunan yn ystod fy nghwrs BA wedi rhoi cyfle perffaith i fi archwilio nid yn unig fy hunaniaeth ond hefyd y delweddau diwylliannol a ddylanwadodd ar yr hen fi a’r fi newydd, a’n diffinio. Mae’r corff hwn o waith yn archwilio’r dylanwadau hynny mewn celf ac yn y cyfryngau, sy’n effeithio ar bob un ohonom, yn fy marn i, yn drawsryweddol ac yn gydryweddol fel ei gilydd. Mae’r delfrydol o ran hunaniaeth a rhywedd wedi cael ei farchnata i ni ar hyd ein hoes i greu diffyg uchelgais a dyhead sy’n gwneud i ni deimlo drwy’r amser nad ydyn ni’n ddigon o ddyn neu’n ddigon o fenyw. Rydyn ni’n prynu dillad newydd, rydyn ni’n dewis rhai hobïau ar draul eraill, rydyn ni’n cael triniaethau cosmetig ac yn newid steiliau gwallt ac yn dilyn y ffasiynau diweddaraf. Mae rhywedd wedi’i droi’n rhywbeth â gwerth ariannol iddo, a’r cwestiwn rwyf am ei ofyn yw, pwy sy’n cael penderfynu beth sy’n diffinio ein rhywedd? Ac ai dyma wir y ffordd orau o fod?

Transitioning into my true self over the course of my BA has presented me with the perfect opportunity to explore not only my identity but the influences through imagery in culture that defined my old self and new. This body of work explores those influences in art and media that I believe affect us all, both transgender and cisgender alike. The ideal gendered self has been marketed to us our entire lives to create an aspirational deficit that keeps us constantly feeling either not man enough or not woman enough. We buy new clothes, we choose certain hobbies over others, we get cosmetic procedures and hair cuts and follow the latest trends. Gender has been commodified and the question I want to ask is, who gets to decide what defines our genders? And is it really the best way for us to be?

Am Noson yn Unig / The One Night Stand

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Mewnfudwyr ydyn ni / We Are Immigrants Konrad Gwozdz

“Merthyr - tref a adeiladwyd gan fewnfudwyr ar anterth y Chwyldro Diwydiannol. Lle’r oedd acenion Sbaenaidd, Gwyddelig, Eidalaidd a Chymreig yn gymysg oll i gyd. Er bod y diwydiannau trymion wedi mynd, heddiw mae math modern o fewnfudwyr wedi heidio i’r dref.”

(We’ll Keep a Welcome, 2015).

Mae fy mhrosiect yn gyfres o bortreadau amgylcheddol du a gwyn sy’n darlunio ac yn dogfennu pobl gyffredin sy’n “gudd” o ran data ystadegol. Aelodau o’r gymuned leol o fewnfudwyr Pwylaidd ydyn nhw: fy ffrindiau, eu teuluoedd, cymdogion, pobl a ddaeth i Ferthyr Tudful, fel y sawl a ddaeth dros ddau gan mlynedd yn ôl yn ystod y Chwyldro Diwydiannol, i geisio creu dyfodol gwell.

“Merthyr - a town built by immigrants at the peak of the Industrial Revolution. Where Spanish, Irish and Italian accents mingled with the Welsh.

Though the heavy industry has gone, today a modern breed of immigrant has flocked to the town.” (We’ll Keep a Welcome, 2015).

My project is a series of black and white environmental portraits depicting and documenting ordinary people, “hidden” in statistical data. They are members of the local community of Polish immigrants: my friends, their families, neighbours, people who, like those from over two hundred years ago, came to Merthyr Tydfil during the Industrial Revolution in the hopes of building a better future.

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Lle o Atgofion, Atgofion o Le / Place Of Memory, Memory Of Place

Mae Lle o Atgofion, Atgofion o Le yn archwilio hiraeth lledrithiol ac atgofion ffug yn nhirwedd Gwlad yr Haf, lle a fu’n gartref i fi am ugain mlynedd a mwy. Cafodd y gwaith ei eni o ddiddordeb oedd gennyf i ymchwilio i’r myth sydd wedi tyfu o gylch cefn gwlad Lloegr, cyd-ddyhead i ddal gafael ar orffennol gwledig a digyfnewid, myth y mae estheteg ffotograffiaeth dirwedd boblogaidd yn ei gadw’n fyw. Mae hyn yn defnyddio grymoedd hiraethus i gynhyrchu arteffactau sydd wedi eu rhamanteiddio ond sy’n creu syniad ymddangosiadol ddiriaethol o le mytholegol.

Beth Alderman

Fy nod yw ailafael mewn atgofion sydd wedi cael eu gwyrdroi yn unol â’r ffordd rwyf yn fy ystyried fy hun a fy ngorffennol, drwy eu hadnewyddu ac ychwanegu atynt. Fe’ch wynebir gan rywbeth sy’n ymddangos yn gyfarwydd, tirweddau tref wledig, ond mae rhywbeth o’i le. Mae olion fy nheimladau fy hun a fy agwedd amwys tuag at y pwnc i’w gweld yn y ffotograffau, heb fod unrhyw fwriad artistig ymwybodol y tu ôl iddynt. Yn hytrach, maen nhw’n cyfrannu at y myth a’r ffantasi, a’r awydd i ddal gafael ar y gorffennol am ennyd bach yn hirach.

Place of Memory, Memory of Place explores illusionary nostalgia and false memories set within the landscape of Somerset, a place that served as my home for over twenty years. The work was born out of an interest to investigate the myth of the English countryside, a yearning felt on a collective level to hold onto a rural and unchanging past, that is perpetuated by the aesthetic of popularised landscape photography. This uses nostalgic forces to produce romanticised and seemingly tangible artefacts of the mythological place.

I aim to recover memories that have become distorted in accordance with how I view myself and my past, through constant renewal and embellishments. You are confronted with what is seemingly familiar, landscapes of a countryside town, but there is something uncanny. Traces of my own turmoil and unresolved feelings towards the subject matter imbue the photograph, bypassing any artistic intention, and instead contribute to the myth and this fantasy, desire and anxiety to hold onto the past for a moment longer.

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Amdani! Gadewch i ni sôn am y menopos / Let’s Do This And Talk All Things Menopause Lynne Hughes-Williams

I allu dathlu a chofleidio’r newidiadau a ddaw yn sgil y menopos, mae angen i ni’n gyntaf ddeall y menopos a’r symptomau sy’n gysylltiedig ag ef. Doeddwn i ddim yn gwybod pam oeddwn i’n colli fy ngwallt, a doeddwn i ddim yn sylweddoli y gallai systiau ar fy ofarïau neu newidiadau yn fy hwyliau neu boenau yn fy nghymalau fod yn ganlyniad i newidiadau yn fy hormonau oherwydd y menopos. Oherwydd fy niffyg gwybodaeth, es i ddim am unrhyw gymorth meddygol.

Mae fy ymchwil wedi datgelu bod gan y menopos 34 o symptomau: pwy wyddai hynny? Nid fi! Ar gyfartaledd mae’r menopos yn digwydd i fenyw pan fo’n 51 oed; ac oeddech chi’n gwybod y gall bara hyd at 10 mlynedd? Doeddwn i ddim. Gall ymyrraeth lawfeddygol arwain at fenopos cynnar mewn menywod: doeddwn i ddim yn gwybod hynny ’chwaith. Felly, mae’n bwysig ein bod yn addysgu’r genhedlaeth bresennol o fenywod sy’n mynd drwy’r menopos, a’r rhai sydd ar drothwy’r cyfnod hwn mewn bywyd sy’n arwain at newidiadau mawr. Mae pethau’n newid, ac rwyf am i fy ngwaith fod yn rhan o’r ymdrech i sicrhau bod y newid hwnnw’n digwydd yn gynt.

To be able to celebrate and embrace the changes brought about by menopause, we first need to understand menopause and the symptoms associated with it. At no point did I know about the cause of my hair loss, or that cysts on my ovaries or my mood swings or joint pains could be caused by the changes in my hormones due to menopause. Because of my lack of knowledge I sought no medical help.

My research has revealed that there are 34 symptoms of menopause: who knew? I didn’t. The average age of menopause is 51; and did you know that it can last up to 10 years? I didn’t. Surgical intervention can bring about early menopause in women: I didn’t know that either. So, it is important that we educate the current generation of women experiencing menopause, and those about to enter this phase in their life that brings about significant change. Change is happening, and I want my work to be part of bringing about that change sooner.

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Di-deitl / Untitled Kerri Mathias

Rwy’n ffotograffydd proffesiynol sy’n dogfennu materion amgylcheddol ac sy’n pryderu am y newid yn yr hinsawdd. Mae’r prosiect hwn yn gyfres ddwy ran o ddelweddau’n portreadu sut mae un dylunydd ifanc addawol yn ymagweddu at ffasiwn cynaliadwy, traws-dymhorol a sut y dylid disgwyl i fân-werthwyr cwmnïau rhyngwladol fel H & M wneud llawer mwy na dim ond bod yn frand sy’n gwerthu cotwm organig.

Mae gwneuthuriad pob dilledyn yn y gyfres hon wedi’i ystyried yn drylwyr, o’r haenen allanol wedi’i chreu o hen stoc burberry, i’r cotwm cwilt organig, a wnaed gan wehyddion medrus yn India, sy’n cael eu talu a’u trin yn deg. Daeth yr edau i gyd o ffynonellau moesegol, a’i lliwio drwy ddefnyddio prosesau dolen gaeedig i gyfyngu ar yr effaith ar y blaned. Gwaredwyd sgil-gynhyrchion y lliwio’n gyfrifol, yn hytrach na gadael iddynt lygru’r amgylchedd. Mae gweithredu fel hyn o fewn ffasiwn a derbyn cyfrifoldeb dros effaith y diwydiant ar bobl a’r blaned yn hanfodol bellach. Mae gwead a gorffeniadau amrywiol y ffabrigau a’r ffibrau yn y ddau gasgliad yn creu dillad moethus nad ydyn nhw’n niweidiol i’r boced nac i’r blaned.

I am a professional photographer who documents environmental issues and is concerned with climate change. This project is a two-part series of images showing an emerging young designer’s approach to sustainable, trans-seasonal fashion and how retailers of multi-national companies like H & M are expected to do much more than a brand selling organic cotton.

The fabrication of every garment in this series has been considered thoroughly, from the deadstock Burberry outer to the organic quilted cotton, made by skilled Indian weavers, who are paid and treated fairly. All yarns were ethically sourced and dyed using closed-loop processes to limit the impact on the planet, disposing of their waste dye bath responsibly, rather than letting it seep into the environment.

Taking these steps within fashion to be responsible for the impact on people and the planet is vital today.

The varying textures and finishes of the fabrics and fibres in both collections create luxurious clothing that really does not have to cost the earth.

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DIOLCH / THANK YOU Gawain Barnard Sarah Barnes Peter Bobby Celia Jackson Eileen Little Ian Llewelyn Magali Nougarède Ian Wiblin and Steven Wright

Cyhoeddwyd gan: Prifysqol De Cymru BA (Anrh) Ffotograffiaeth Prifysqol De Cymru 86-88 Stryd Adam Caerdydd CF24 2FN

Published by: University Of South Wales BA (Hons) Photography University Of South Wales 86-88 Adam Street Cardiff CF24 2FN

Hawlfraint © Prifysqol De Cymru, 2022

Copyright © University Of South Wales, 2022

Cedwir pob hawl. Ni chaniateir atgynhyrchu unrhyw ran or cyhoeddiad hwn, na’i storio mewn system adalw, na’i drosglwyddo ar unryhw ffurf neu drwy unrhyw fodd heb ganiatâd ysgrifenedig gan y cyhoeddwyr.

All rights reserved. No part of this publication may be reproduced, stored in a retreival system, or transmitted in any form or by any means without written permission from the publishers.

Mae’r awduron wedi datgan eu hawliau i gael eu nodi fel awduron y awaith hwn n unol â Deddf Hawlfraint, Dyluniadau a Phatentau 1988.

Cyhoeddwyd: Mehefin 2022 Dylunwyr: Lewis Brymner

The authors have asserted their rights to be identified as the authors of this work in accordance with the Copyright, Designs and Patents act 1988.

Published: June 2022 Designer: Lewis Brymner

Golygyddion: Celia Jackson

Editor: Celia Jackson

Rhagymadrodd: Celia Jackson

Introduction: Celia Jackson

Cyfieithydd: Cris Dafis

Translation: Cris Dafis

Beth Alderman Georgia Bolderson Raven Gough Konrad Gwozdz Kye Hill Lynne Hughes-Williams Kerri Mathias Bethan Smale Kirstyn Thomas