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One bridge, two Williams: Photographic integrity in the age of ubiquity

Dr Shawn Sobers

Associate Professor - Lens Based Media, University of the West of England

Reflecting on the topic of photography and integrity I’m reminded of two BBC

documentaries, which profiled the careers of William Klein and William Eggleston. (1) These

programmes clearly showed that at this point in their lives, their first names were the only

thing they shared, their working practices being very different. The former, far from his

brutal sharpshooting younger days, casually sauntered through Harlem chatting to people,

making jokes, calling people by their first names. When he eventually takes a photograph

it is in rhythm with his calm countenance and this mutual flow of exchange, and the click

of the shutter is often in the midst, not at the end, of the exchange. If he didn’t know the

person before, he is more acquainted by the time he winds on his camera. Eggleston is a

different animal, stalking through Memphis with wide eyes looking for his next shot. A

hunter/gatherer, Eggleston sees, shoots, and darts off to his next target. His method is the

same no matter whether he’s capturing objects, people or places. For as much as I love the

work of Eggleston, in context of these representations of them today, I know I would rather

be a Klein, using photography as a bridge to venture further into the world and make

connections, where the subject is included in the dialogue, even if at the point of capture they

were unaware. Not a one-way bridge distancing us from the scene, running away clutching

prints to “thicken the world” (2) . To be clear this is no crass judging of Klein as good and

Eggleston as bad (3), it is far more subjective than that, it is about how I want photography

to feature in this point in my life and add value to my sense of self.

Photographer and curator Hulleah Tsinhnahjinnie tells a story about how she sees certain

portrait photographs in the context of her Navajo heritage (4) , which shines a light on the

type of photographer I do not want to be. Seeing the formal portrait of a native American

girl, taken in 1907 by Edward S. Curtis, rather than simply seeing the representation of the

young girl, she sees the memory of her younger self. Flashback to young Hulleah and her

brother confronted by tourists with cameras, sometimes offering them money, sometimes

not, always capturing their portrait. Steeling her gaze towards the instamatic Kodaks, in her

mind she was thinking just one thing. “Take your photograph and….!!” (5) It does not need

much imagination to work out what the next words are before Hulleah’s voice trails off. So

where does the integrity in photography reside; in the taking, sitting, viewing or exhibiting?

As with most of these conundrums it is a mixture of the above, and it is these multi-faceted

dynamics of the ethics of photography in the contemporary era that emerging professional

photographers have to contend with. It is the challenge of the ubiquity of photography in a

visual world that is becoming increasingly, according to Will Self, ‘post-image’. (6)

www.exclave.photography

25th June 2015

Photography & Integrity Symposium: 1.30pm - 5pm Clare Hewitt Max Ferguson Natasha Caruana Olivia Gideon-Thomson Emma Bowkett

Private View: 6pm

Exhibition: 25th - 28th June 2015

Introducing ‘Exclave’ the University of the West of England Photography BA(Hons) graduate degree show. To be held at:

Bargehouse, Oxo Tower, London.

The exhibition will feature work from 45 different photographers, consisting of various forms of media including prints, books and short films.

Bargehouse | Oxo Tower Wharf | Southbank | London | SE1 9PH

Awareness and planning are about our attitude and the way we relate to others, and will help

keep us grounded and personally connected to the work we do.

Integrity in photography is not simply about a set of practices or even fixed principles,

such as being ‘community based’ or ‘socially engaged’, it is about how considered we

are in our undertakings, the thought processes of our practice and the (attempted) legacy

of our interventions. Telling Sontag and Tsinhnahjinnie what conversations and further

interactions we are willing to engage in, for mutual benefit, as we saunter back over the

bridge, away from the scene, clutching the camera under our arm.

Endnotes:

(1) Both documentaries were part of Alan Yentob’s BBC1 Imagine series. ‘The Many Lives of

William Klein’, first broadcast 20.11.12 and ‘The Colourful Mr Eggleston’, first broadcast 14.7.09.

(2) Sontag, S . (1977) On Photography. Penguin, London. P.p. 3

(3) As with all practitioners their approaches are fluid and not fixed throughout their

careers. Klein has taken a large amount of ‘sniper’ street photographs in his time.

(4) Tsinhnahjinnie, H. J. “When is a Photograph Worth a Thousand Words?”. In: Photography’s

Other Histories. C. Pinney and N. Peterson (Eds.) Durham: Duke University Press, 2003: 40-52.

(5) Tsinhnahjinnie quote from the above title, page 48. She is fully aware of the subjectivity

of her reading of this photograph, (and all readings of photographs), saying, “Perhaps I’m

projecting, but isn’t that what it’s all about?”

(6) Self, W. (2015) A Point of View: Has the world become too visual?, BBC Online,

http://www.bbc.co.uk/news/magazine-31656672 (Last accessed 9 May 2015). Self’s

stance on being post-image is, “I’ve reached a point in my life where I can no longer accept

uncritically any image whatsoever.”

(7) Garry Winogrand quote from ‘Image Magazine’, George Eastman House – Vol. 15, No.

2, July, 1972.

Candid captures and spontaneous street photography approaches are still celebrated, and I

still occasionally do it myself and recognise some of my best work is in that genre. (What are

humans if we are not all hypocrites?) Though as someone who has worked with and thought

about photography for over 20 years, I am no longer solely satisfied with the answer given

by Garry Winogrand when asked why he took photographs. “I photograph to find out what

something will look like photographed.” (7) That answer was fine in the 1970s but now with

the ubiquity of photography, where there’s likely more photographs of food than there is

food in the world, I feel even though Winogrand’s is a great answer, there’s now a lot more

that needs to be considered. I believe the elements that separate People With Cameras from

Professional Photographers, are an eye for detail, competence, awareness, and a plan.

I’ll break those down. The first two are relatively straight forward. As with Eggleston

and Winogrand, photographers need to have an understanding of what would look good

photographed, whether through instinct or planning, preferably the ability to do both.

Competence (and confidence) to use the camera equipment and other tools of the trade needs

no further explanation. Awareness is about being informed regarding how our photographs

represent the subject, what it communicates, who benefits from the photographic exchange,

and how it might be received? Awareness is engaging in the discourse of photography and

comes from research, whether prior to, or after, the point of shooting. Planning comes with

being able to look critical theorists such as Sontag in the eye (if she was still alive), and

explain why we are thickening the world with yet more images. What are we going to do

with them? What is the point? What is our plan? People With Cameras need not burden

themselves with such responsibilities, professionals do.

I propose that these elements combined contribute towards what constitutes a photographer

with integrity in the contemporary context. It is a process rather than a fixed set of methods.

However there is no toolkit we can borrow from or simple checklist to say we now have

the integrity stamp of approval. Eggleston has no less integrity than Klein as he is fully

aware of what he is doing. Photography is a broad church with many approaches to

worship, though practitioners need to be aware of the discourse of their chosen genre and

the related ethical considerations. For example, the discourse of photojournalism has a

different set of integrity criteria than fashion editorial, so any attempts of a homogenised

fixed set of ethical arguments which addresses photography in general terms is futile and

damaging to creativity, (and we have to be mindful of this when teaching photography).

The consideration of these dynamics is again what separates People With Cameras from the

Professional Photographer. An eye for detail and competence are relatively easy attributes

to acquire (with hard work and confidence), however an awareness and a plan is about our

360 degree understanding of what it is we are doing and a reflexive view of our motivations.

PHOTOGRAPHERS

Rebecca SymmRhys PerrinRhiannon BuckleChelsea RookePatrick GrahamAnna WhyteLaura WilliamsEllie RoseJess LeonardMia RoseKatherine PaulAmy AdlardEmily LaneAbby PhillipsGrace BagotGeorge BaleChloe UptonLauren KaiggAmy RanceHarriet SmithEmma CattellJonathan LiJade Spurling

Chloe DoddsSarah JacobsMegg EvansWilliam SpoonerBen PatersonEbun AlesheJoe YouensViktoriya MirchevaMadeleine LidsterBeth RandallCiara HillyerDebbie WoodleyLeigh–Anne JamesSophie DavisonRachel HallMelinda LeistererBeth SheldrickCharlotte ChambersThomas WelfootRobert FanshaweNatasha Nicholas Credits

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REBECCA SYMM

Rebecca’s work focuses on the pervasiveness of the media and social networks, technological advancements, and the complex ways that these conduits are facilitating change in the structure of human interactions and identities. Primarily working in still-life and drawing on post–modernist discourse, Rebecca’s main aim is to critique and examine the framework of contemporary life and the increasing influence that computer–mediated environments have on the public psyche.

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RHYS PERRIN

Rhys’ work is largely influenced by the possibilities of experimentation with a wide range of materials and objects as subjects. His work, primarily consisting of still life projects, explores how colour can be used to express emotion. His latest project looks directly at the process of combining vibrant inks with water and how these two elements react with each other, and the unique forms created as a result.

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RHIANNON BUCKLE

Rhiannon is primarily interested in studio–based work. Understanding and representing the qualities of the subject is of highest priority when shooting and this applies to both portrait and still-life photography. Rhiannon is inspired as much by eighteenth century painting as she is contemporary photography, studying subjects that express identity and cultural impact. Her current work explores how identity is inevitably changed through experiences of death and loss.

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CHELSEA ROOKE

Chelsea’s passion for landscapes evolved from a determination to represent places that are significant to her. Much of the work is inspired by the visual impact of vast post–industrial landscapes and the exchange that man has with the land. Chelsea seeks to examine the forces of entropy and decay within a site. Favouring the use of traditional methods of large format analogue photography, her resulting work depicts the visual scars and detritus that are left behind to punctuate a vista created by much slower tectonic forces.

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PATRICK GRAHAM

Having worked in forestry and then conservation management Patrick’s work is broadly informed by a multitude of disciplines that include humanitarian perspectives drawn from psychology, religious and spiritual ideologies, folklore and mythology. Through the medium of photography he reveals the underlying threads of commonality that connect us in a way that engages our thoughts and feelings. Patrick seeks to explore realities that exist in the liminal space between what we call ‘reality’ and our collective imagination; the place where mythology, fantasy and reality collide.

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ANNA WHYTE

Anna’s work can be described as uncanny or curious tableau in the tradition of Surrealism. She constructs compositions around the make-believe, by utilising space and building props to fit the scene. Her methods involve concise organisation and collaboration with designers, stylists and make–up artists to stage and realise a constructed fantasy. Anna’s work has always been a form of portrait photography. She is interested in people and fascinated with human form an individual personality.

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LAURA WILLIAMS

Laura is a Bristol and Staffordshire based photographer, who uses her passion for photography as a tool for the exploration of different landscapes. Favouring the use of analogue methods, she explores the space and scale of her observations in the traditions of contemporary colourist photography such as Mark Power or Alec Soth. In her most recent project Laura is exploring the idea of chance, particularly the effect that reoccurring numbers have on the way we perceive the world.

ELLIE ROSE

Ellie has a passion for land, nature and documentary photography. She has developed a creative style, ultimately favouring working with black and white imagery. Ellie’s focus is capturing nature at its best, being inspired by photographers who show the land in a dramatic and mysterious way. Ellie wants her work to stimulate others in to seeing the beauty that surrounds us.

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JESS LEONARD

Influenced by personal stories and specific environments, Jess‘ work explores the relationship people have with their everyday surroundings. Her ideas are best expressed through multimedia and publications. Documentary practice is the genre that characterises of her approach, as she believes this method allows her to portray a found narrative in a more authentic way. Observing a story through the use of landscape, still life, and portraiture, Jess’ work depicts the experiences of other people. Preferring to shoot candid moments, Jess attempts to represent unique individuals and social groups.

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MIA ROSE

Mia Rose is a London based photographer with an interest in landscape and portraiture. She enjoys looking at the relationship between people and place through environmental portraiture and landscape photographs. Mia is driven to go back to the same location at different times of the day and reflect on how light and weather changes the site. The Arbor project employs a combination of location lighting and natural light to create individual portraits of trees. Shot in locations across the country, the project has sought out distinctive examples of arboreal forms and textures rendered through a controlled handling of light and tone that references a rich tradition within the history of photography.

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KATHERINE PAUL

Living and working in Dorset, Katherine is often influenced by the physical and social sphere as well as her personal experiences. By using her environment to influence her work Katherine continually finds inspiration around her and takes time to critically engage with her surroundings. She uses online sources and social media to uncover subcultural activity in her county and in doing so she produces work which, on occasion, shocks and surprises viewers.

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AMY ADLARD

Amy’s work occupies the fields of fine art and portrait photography. Her passion for portraiture is fundamental, stemming from an interest in people, human interaction, body language and expressions. She wants to capture every aspect of the beauty and darkness of the human subject. Elegance and simplicity plays a vital role in her work, through constructing imagery with a mixture of subtle colours and tones.

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EMILY LANE

Emily is intrigued by the lives of others and often finds small personal narratives on her travels both home and abroad. Using photography to illustrate her findings, Emily is able to capture the essence of the many stories she finds. She enjoys the challenges that arise with language barriers and uses photography to gain a better understanding of the surroundings, lifestyle, and true personality of other cultures. Recently Emily has become fascinated by the blindness of contemporary consumption and has sought to uncover the realities of food preparation and distribution in the UK.

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ABBY PHILLIPS

Abby uses photography to document the relationship between people and their environment. Her work concentrates on emotional bonds through portraits, architectural photography and moving image. Abby wants her work to allow an audience to engage emotionally with the subjects from an intimate perspective. Abby’s work is inspired by personal experiences, everyday life occurrences and observations of a human behaviour.

GRACE BAGOT

Grace’s photography moves across the genre distinctions of documentary, landscape and portraiture. Frequently, her experimental process is entirely intertwined with the concept behind the work in order to emphasise her interpretation of the subject. Grace is inspired both by consumer culture and the natural world, using medium format film to capture the full impact of both. She has gained professional experience whilst assisting photographers such as Bill Batten and Ben Nicholson, and during internships at The Photographers Gallery, Condé Nast and House & Garden magazines.

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GEORGE BALE

After discovering an interest for photography amongst the unique landscapes of Iceland, George has endeavoured to explore many different aspects of the discipline, from street and studio, to analogue film and moving image. In his most recent body of work George returns to where he began, with a heavy focus on landscapes and images of the world around us, whilst also producing a strong selection of accompanying lifestyle images. George is a project photographer interested in diverse subject matter. Using a direct and simple style he explores everything from the impact of snow on the Western Canadian Mountains, to investigating what essential items ordinary people cannot live without.

CHLOE UPTON

Growing up in a rural setting Chloe is fascinated by natural forms and the way in which we engage with flora and fauna. Her latest project indicates the complexity of this relationship and emphasises our dependence on the natural world. Adept in most photographic processes Chloe has developed a loose documentary style with a preference for medium format film. The relationship between space and people intrigues Chloe and is reflected in much of her image making. In a former work she documented the village in which she spent her early childhood and how her memories compare to and conflict with the reality of the space.

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LAUREN KAIGG

Lauren’s work is of a personal nature, using photography as a means of self–exploration and a tool to expand her perception and understanding of the world around her. Photographing an array of subjects, Lauren uses a mixture of analogue and digital processes, but primarily enjoys the slower practice of medium format film, giving her time to connect with her diverse subjects. Inspired by existentialism, her work seeks to ask questions and reflect on philosophical concerns.

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AMY RANCE

Amy Rance is a location-based photographer whose work is rooted in the observation of the people and spaces around her. Although primarily working with digital equipment, she has recently embraced 5x4 film, diversifying and slowing her practice in order to maximise detail. Amy’s most recent project continues her preoccupation with how we perceive the spaces around us. Her photographs explore the (non) places of staff rooms and interrogate our immersion within these seemingly characterless spaces. What emerges is a renewed understanding of the elements that constitute everyday life; details that Amy feels too frequently escape us.

Through her engagement with people and spaces, Amy has also developed an interest in curating. She enjoys building relationships with other photographers and artists working with varied mediums in order to organise exhibition and events. Baarle Nassau sits on the Belgium/Netherlands border and is currently made up of 22 enclaves.

HARRIET SMITH

Harriet’s most recent project examines the subject of phobias and fetishes and what they mean to different people. She favours an analogue format and prefers to focus on creating portraiture and still life images. Harriet’s intention with her photography is to make people think more deeply about subjects that are often overlooked. She makes photographs that explore the relationship of the individual to the culture that surrounds us.

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EMMA CATTELL

Emma is currently working on a project based around Greek mythology, to create a contemporary interpretation and re-contextualise some of the female subjects at the heart of these narratives. She enjoys working with her surroundings and small villages and farmland often appear within her work. She is also comfortable with more controlled environments in which she composes and constructs imagery that suggest complex human stories. Emma’s projects have covered an array of topics, including childhood memories. She often uses photography as a personal process and values the therapeutic nature of picturing the world.

JONATHAN LI

Jonathan’s work is strongly inspired by his emotional state; he puts his personal feelings into the imagery he creates. He is inspired by details of daily life like song lyrics and memories, as well as the landscape of his hometown of Hong Kong. Recently Jonathan has started a project about the traces that we leave behind or us as we move through the world. It explores places and tries to come to terms with the notion that things happen for a reason, but that we are not always aware of why.

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JADE SPURLING

Jade is fascinated by the human condition, people’s behaviour and how they interact. Using photography as a way of social and emotional exploration, Jade’s work varies from structured environmental portraits to a more spontaneous fleeting glimpse of everyday life. Her main interest is in people, their behaviour and their relationships with others and the world around them. Jade’s current work explores the depths of family bonds, and how long term illness puts pressure on family dynamics and relationships. By turning the lens on her own family, Jade hopes to document the intimate moments that her family members share against the backdrop of her father’s illness.

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CHLOE DODDS

Chloe’s output is varied, with many different inspirations. She is often drawn to make imagery about places that have been central to her creative perspective, such as the Dorset landscape or the East Sussex coast. Chloe’s work stems from personal themes and lightly touches on identity and a sense of belonging. It is simple and unpretentious in style. She uses both analogue and digital processes, in a number of genre areas including still-life and interiors. Chloe also has a keen interest in curatorial practices and is working towards a career in this field. A gallery environment is where Chloe believes her organisational skills can thrive.

SARAH JACOBS

Sarah Jacobs is a photography student located in Bristol. Her work explores the tiny intricacies in life, questioning subjects that may sometimes be neglected. Her imagery is often orientated around the effect of human interaction within nature, exploring the subtle alterations that occur. Sarah works with analogue film and natural light to create landscapes, portraits, interiors and still life imagery. Her most recent project explores objects and spaces that hold spiritual and religious significance. The way in which these objects and spaces are appropriated through faith or fashion is the driving force behind the project.

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MEGG EVANS

Megg’s practice includes the making of arts and crafts, as well as photography. Her practice is predominantly driven by a therapeutic agenda. Her projects are based, either metaphorically or literally, on personal struggles and coping mechanisms, or similar areas of interest in care and wellbeing on a wider scale. Helping others, more specifically those who for any reason cannot help themselves is something that has always inspired Megg. These themes are apparent throughout her projects, whether that be documenting endangered animals in Africa, or exploring different ways the visual arts can help those living with mental health issues here in the UK.

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WILLIAM SPOONER

William Spooner is a documentary photographer based in London. For the past three years William has shot predominantly in black and white, 35mm format. Expressionistic in his developing of the film; William likes to push it as far as he can. This rough and ready approach goes a long way in dictating his practice and results in a unique style.

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BEN PATERSON

Ben’s style as a commercial photographer is inspired by his interest in society and new technology. He is fascinated by the technical aspects of creating images and works both in the studio and on location, focusing primarily on still life and portraiture. Much of Ben’s work aims to raise awareness of new technologies and the people that work hard to develop them. The topics he covers are vast, but he tries to keep a diverse range of approaches to image making, both intimate and epic, and works on producing unique and intriguing photographs.

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EBUN ALESHE

Ebun’s photographic practice is heavily influenced by the study of people, culture and colour. Being of African descent herself and having grown up in the UK, staying connected to her roots sparks the genesis of her concepts. With an increased awareness of politics and poverty in Africa, she strives to expose the beauty of the continent through her own eyes using portraiture and re-enactment. Her most recent project, The Big 5, explores power relationships through the symbolic use of big game animals.

JOE YOUENS

Through his process and passion for photography and film Joe meets lots of interesting people and finds himself in a range of social settings which influences his work. He is able to use the camera lens as a tool to break drown barriers and to find honesty in his work. Being surrounded by a diverse range of people inspires Joe’s creativity and he is constantly striving to communicate more successfully as a photographer and filmmaker. His most recent project represents the beauty of the working practises in the Axminster carpet factory in Devon.

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VIKTORIYA MIRCHEVA

Vikki’s recent work explores the connection that women feel to their bodies. By exploring this subject in an intimate and sculptural way Vikki communicates both beauty and dignity in the female form. She likes to take full control of her work by styling all her shoots and relying on her creative initiative to interpret the subject in an intuitive and expressive way.

MADELEINE LIDSTER

Madeleine believes that photography can enhance how people interact and connect with the world. Moving image and photography virtually construct contemporary life, and Madeleine seeks to contribute to this space with integrity. Her interest in people and their environments is at the heart of her playful photographic process.

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BETH RANDALL

Each of Beth’s images is an interpretive statement based on her investigations into social, political and cultural subjects. Still life is her preferred genre, as it focuses and objectifies her ideas in a structured environment. Every detail of the image is in her control, enabling her to construct the story from top to bottom, thereby fulfilling her artistic vision. Always looking to the art world for inspiration, her ambition is to compose clean cut, engaging images that subtly suggest a narrative as well as catch the eye.

CIARA HILLYER

Ciara uses photography as a means of documentation and self–expression. Finding inspiration in everyday life and incorporating the use of natural light, she becomes immersed within her photography. Ciara produces images that express her interpretation of today’s society, and with the use of a variety of cameras she has constructed a portfolio that displays a wide range of individual and personal photographic projects in her quiet and engaging style.

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As a mature student Debbie joined the third year of the BA (Hons) Photography course at the University of the West of England after completing a Foundation Degree in Digital Photography in Wales.

DEBBIE WOODLEY

Conceptual art of the 1960s and 70s, such as that of Sol Lewitt and Richard Long, inform the abstract nature Debbie’s photographic practice. Her work is based around exploration of an idea, concept or theory. Often more concerned with the research elements of a subject, the visual outcomes of her projects may seem obscure or bizarre, but are in fact documents of carefully planned and executed experiments. Themes explored have included involuntary sculpture, indirect portraiture, instructional art and, most recently, elements of physics, particularly in relation to the forces that act, often completely unnoticed, upon every one of us.

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LEIGH-ANNE JAMES

Leigh-Anne’s personal practice consists mainly of exploration of both digital and hand rendered techniques, which she combines to create interdisciplinary work. She enjoys producing work that is tactile and causes the viewer to stop and touch the materials used or question the process. She has a strong interest in textile techniques, from which she takes a lot of influence, building upon both her design and photographic practices. The subject of her work is very personal, and as a result Leigh-Anne becomes highly immured in the production process. She often works around themes that relate to her memories and experiences, particularly around her family and childhood.

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SOPHIE DAVISON

Sophie Davison specialises in landscape photography, both urban/industrial and rural. She is interested in how man has left its mark on the environment. As her projects have developed Sophie has gained a greater understanding of how important a conceptual basis is to her work. Historical research has become the stage on which her work is set, offering layers of potential embedded meaning in the imagery. Sophie’s last project documented the West coast industrial town of Avonmouth - its landscape being steeped in history relating to the port. The residential area that had been engulfed by industry and cold metal warehouses became a particular focus of incongruity.

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RACHEL HALL

Rachel’s projects stem from her desire to learn about different places and cultures, and she uses landscape photography to best illustrate this. Recurring themes in her work are feelings of isolation, untameable wilderness and a strong sense of place. In previous work she has explored social and cultural territory such as independent artisan trade, bearded men and Bristol pubs. She is looking to gain experience within editorial and advertising photography as well as continue to shoot her personal work on colour film.

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MELINDA LEISTERER

Melinda’s work is strongly influenced by her love for music, dance and the ocean. She particularly enjoys photographing the dancing body and often creates costumes herself in order to accentuate the dynamic forms of the body described by moving fabric. In her latest project she uses elements and colours from nature to create dance wear, which she then captures in motion through collaborating with professional dancers. Melinda’s love for dance photography developed during an internship with Lois Greenfield in New York City. Her work is published under ‘Melinda Dela Costa’, her mother’s maiden name.

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BETH SHELDRICK

Photography has been Beth’s main creative focus for almost ten years during which time her palette and subjectivity have evolved. Whilst her subjects are often static, Beth has always used shape and colour to create energy throughout her compositions. With these elements often formed in postproduction, her work displays a constructed style rooted in design. This style was originally developed from an interest in new age spirituality, where the colours and patterns are bold to illustrate surrounding energies. More recently however, her image manipulations have been more subtle and yet the same ethereal energy still runs throughout.

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CHARLOTTE CHAMBERS

Charlotte’s main focus is on human behaviour and environment, seeking to understand different cultures and observing how they interact. A passion for animals has inspired her current project, ‘Menagerie’ in which she portrays the stark and confined artificial environments in which animals are held captive. She is aware that people are a vital component in the workings of a zoo and her ‘moving stills’ taken from fixed viewpoints record the movements of animals and people and pick background sounds from both. She believes that zoos exist principally for the benefit and entertainment of people and that the welfare of animals is very much a secondary, albeit essential, factor.

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THOMAS WELFOOT

Thomas’ work is varied, ranging from documentary reportage, to studio based still life. Although the majority of his project work is shot digitally, Tom has a huge enthusiasm for traditional photography methods, which can be seen in his personal work. He creates a lot of his images on 35mm film, both in colour and black and white, capturing images from daily life that catch his eye. Images that range from conventional street photography, focusing on the human condition within public places, to images in nature and found objects, all tend to reveal a symmetry described in shadow, texture and form.

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ROBERT FANSHAWE

As a photographer, Robert makes socially engaged images that document and highlight contemporary social discourse. His work tends to be based around personal studies of the consequences of current affairs on localities. Roberts seeks to reveal the effect we have on the earth and the way we shape the world around us. Using information from public domains to identify the stories of the people involved in current affairs, he aims to produce photographs that are rich in political meaning.

NATASHA NICHOLAS

Natasha enjoys focusing mainly on quiet, delicate moments within her daily life and takes a lot of inspiration from the things that surround her. She likes to connect with her subject on a personal level in order to allow the images to show the way in which she directly perceives the world. Initially inspired by the patterns in everyday objects and interiors Natasha has developed her photographic process to produce art from a closely observed interplay of forms.

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Abby PhillipsAmy AdlardAmy RanceAnna WhyteBen PatersonBeth RandallBeth SheldrickCharlotte ChambersChelsea RookeChloe DoddsChloe UptonCiara HillyerDebbie WoodleyEbun AlesheEllie RoseEmily LaneEmma CattellGeorge BaleGrace BagotHarriet SmithJade SpurlingJess LeonardJoe YouensJonathan LiKatherine PaulLaura WilliamsLauren KaiggLeigh-Anne JamesMadeleine LidsterMegg EvansMelinda LeistererMia RoseNatasha NicholasPatrick GrahamRachel HallRebecca SymmRhiannon BuckleRhys PerrinRob FanshaweSarah JacobsSophie DavisonThomas WelfootViktoriya MirchevaWilliam Spooner

abby-phillips.com

amyadlard.co.uk

amyrance.com

annawhyte.co.uk

benpaterson.co.uk

bethrandall.co.uk

bethsheldrick.co.uk

charlottechambers.com

chelsearooke.co.uk

chloedodds.tumblr.com

chloemupton.com

ciarahillyerphotography.co.uk

deborahwoodley.com

ebunaleshe.co.uk

ellierosephotography.weebly.com

emilylanephotography.co.uk

emmacattellcreative.co.uk

georgebale.com

gracebagotphotography.co.uk

harriet-smith.co.uk

jadespurling.co.uk

jess-leonard.co.uk

joeyouens.com

jonathanlhtphotography.tumblr.com

katherinepaulphotography.co.uk

laurawilliams.co.uk

laurenkaigg.com

leighannejamescreative.co.uk

madeleinelidster.com

meggevans.com

melindadelacosta.com

mia-rose.co.uk

tashaphoto.com

patrickgraham.viewbook.com

rachelhallphoto.co.uk

rebeccasymm.com

rhiannonbuckle.co.uk

rhysperrin.com

rfanshaw.com

sarah-jacobs.com

sophiedavisonphotography.co.uk

twelfootphotography.tumblr.com

vikkimirchevaphotography.com

willspoon.tumblr.com

CREDITS 34

30

44

18

62

72

86

88

14

54

40

74

76

64

22

32

48

38

36

46

52

24

66

50

28

20

42

78

70

58

84

26

94

16

82

8

12

10

92

56

80

90

68

60

ONOW

TOFwww.gchq-careers.co.uk

Every day cyber criminals, terrorists, hackers, fraudsters, organised gangs are targeting the UK using ever more sophisticated technology. As the government’s security and intelligence agency, we’re dedicated to combating these diverse threats.

Our unique remit means we offer the kind of opportunities you won’t find anywhere else – complex, technically challenging and intellectually stimulating roles that test both technical and non-technical skills. Whether you’re an experienced professional or just starting out in your career, there are many ways to play your part in keeping the UK safe, secure and successful. Make a complex world yours

THE UK FACES ALL KINDS OF CYBER THREATS. So we need all kinds of people to combat them.

DESIGNParis Daley & Jenny Johnsonwww.parisdaley.comwww.jenny-johnson.co.uk

Cover image by Chelsea Rooke

WEBSITEwww.exclave.photography

Copyright ©2015 University of the West of England

The copyright of the individual photographs in this book remains with the photographer unless otherwise shown.

The compilation of the photographs remains copyright of UWE.

No part of this publication may be reproduced, stored in a retrieval system or transmited in any form or by any means, whether electronic or mechanical, including photocopying, recording or otherwise without the prior permission in writing from the copyright holder/s.