OTO

US
/
APH
X
H
I
NUS
ION

I N T
DUCT
& CO
BUT
IN THE IMAGINARY PECKING ORDER OF PHOTOGRAPHY, APPLIED AND
COMMERCIAL WORK IS SOMETIMES DISCRIMINATED AGAINST AS
LITTLE MORE THAN CRAFT WITH A PERCEIVED LACK OF MEANING
AND SHORT LIFESPAN. JEFF WALL, ARGUABLY A DADDY OF TAKE-MESERIOUS-AS-ART PHOTOGRAPHY, TELLS US THAT, PHOTOGRAPHS
DONT HAVE MEANINGS, THEY HAVE SUBJECTS. I WOULD ARGUE
THAT THERE ARE AT LEAST TWO SUBJECTS, BOTH IN FRONT OF THE
CAMERA, AND BEHIND.
THE IDEA THAT COMMERCIAL IMAGES ARE NOT MOTIVATED BY SERIOUS
INTELLECTUAL CONCERNS IS A DANGEROUS AND CONVENIENTLY
PERVASIVE MYTH. THOSE CONCERNS ARE, IN FACT, INDEX LINKED TO
THE SUBTLE PROMOTIONAL MATRIX OF ACCELERATED CAPITALISM.
WHATS THE DIFFERENCE BETWEEN ADVERTISING AND PROPAGANDA?
THE SOPHISTICATED PROMOTIONAL IMAGES THAT BOMBARD US
WITH ANY NUMBER OF MESSAGES ABOUT WHAT WE SHOULD WANT
AS OPPOSED TO WHAT WE MIGHT NEED ARE TO BE TAKEN SERIOUSLY.
THROWAWAY THEY MAY BE, BUT THEIR NUMBERS ARE LEGION AND
THE AGENDA THEY PROMOTE UNSUSTAINABLE. WE NEED TO STUDY,
UNDERSTAND AND DECONSTRUCT THEIR VARIOUS MECHANISMS IN
ORDER TO OBTAIN A MEDIA LITERACY AND IMAGINE AN ALTERNATIVE.

THE MAJORITY OF PFA STUDENTS HAVE EXPLORED FASHION

PHOTOGRAPHY. ITS NOT JUST ABOUT SELLING THIS SEASONS
KEY LOOK. WE CAN ALSO FIND A DEEP-ROOTED PASSION FOR
STYLE, THAT ELUSIVE QUALITY THAT TRANSCENDS LANGUAGE BUT
COMMUNICATES SO MUCH. IT CAN BE A PLACE TO EXPLORE AND
DEVELOP AESTHETICS AS MUCH AS PROPOSE NEW GENDER ROLES
OR SEXUAL FREEDOMS.

ANOTHER SIGNIFICANT GROUP OF THIS YEARS GRADUATES ARE

ENGAGED IN PRACTICE-BASED RESEARCH.
THESE STUDENTS ARE EXCITED AT THE NEW POTENTIALS OFFERED
BY DIGITAL TECHNOLOGY, NATURALLY WORKING IN THE AREA
OF APPLIED PHOTOGRAPHY WHERE, TRADITIONALLY, TECHNICAL
INNOVATION HAS BEEN DRIVEN. IN THESE IMAGES FROM THE SECOND
COHORT TO COMPLETE THIS NEW PROGRAMME YOU WILL NOT FIND
A HOUSE STYLE. SOME OF THE WORK MAY APPEAR DOCUMENTARY
OR REMINISCENT OF ART PHOTOGRAPHY. OTHER INDIVIDUALS
PLAY WITH FASHION AND ADVERTISINGS OWN CONVENTIONS,
SUBVERTING THE FORMAT WITH THEIR OWN AGENDA.
WHERE DO THEY LEAVE THAT IMAGINARY PECKING ORDER?

ELIZABETH NELSON
PROGRAMME LEADER, PHOTOGRAPHY FOR FASHION & ADVERTISING
MAY 2012

T R O
TION
ONTRI
ORS
JESSCIA BROWN
JOHN BURBRIDGE
OANA CELINA
SOPHIE FIELDING
WILLIAM GREEN
M AT T H A L L E T T
NICOLA HAWDON
E L E R I H U X TA B L E
A M I
I L I F F
GABRIELLA JACKSON
A L I J O H N S O N
VICKY SYMONS
A LV E E N A TA R I Q
REBECCA TONER
B E N V O D E N
R Y A N W E L C H

Belief

BY JESSCIA BROWN

BY JOHN BURBRIDGE

the easy dreaming

BY

OANA

CELINA

Hello I'm

BY SOPHIE FIELDING

utopia

BY WILLIAM GREEN

l ittle r ed B

BY MATT HALLETT

forensic photographs B

BY NICOLA HAWDON

BY ELERI HUXTABLE

BY

AMI

ILLIF

IDENTITY

BY GABRIELLA JACKSON

model perception B

BY

ALI

JOHNSON

fragmented

BY VICKY SYMONS

Androgyny

BY ALVEENA TARIQ

push me, pull me B

BY REBECCA TONER

BY

BEN

VODEN

identity

BY

RYAN

WELCH

S T A
MENT
CONT
D E TA
J

JESSICABROWNPHOTOGRAPHY@HOTMAIL.COM

WWW.JESSICABROWNPHOTOGRAPHY.CO.UK
THIS PROJECT ATTEMPTS TO SHOW HOW
A PERSONAL BELIEF CAN BE EXPRESSED
THROUGH A PHOTOGRAPH. EACH SUBJECT
WAS CHOSEN TO BE PHOTOGRAPHED
WITH AN OBJECT OR SYMBOL OF THEIR
OWN CHOICE TO REPRESENT THIS FAITH.

J O H N _ D _ B U R B I D G E @
H O T M A I L . C O . U K

W I L L I A M G R E E N
WILLGREENPHOTOGRAPHY@HOTMAIL.COM
W W W. W I L L G R E E N P H O T O G R A P H Y. I N F O
THE SERIES OF IMAGES TITLED UTOPIA IS A
REPRESENTATION OF THE DEFIANCE WE SEE
IN SOCIETY, IGNITING COLOUR ED SMOKE
GRENADES IN THESE ENVIRONMENTS, IS MY
CREATIVE ACT OF DEFIANCE AND I SEE IT AS
MY LIBERATION AS AN IMAGE-MAKER. THE
VIBRANT, STRIKING COLOURS THAT HAVE
BECOME ENTITIES THAT DRIFT THROUGH THESE
VACANT URBAN AND RURAL SPACES REPRESENT
A BURST OF CREATIVITY IN AN OTHERWISE
DETACHED AND DISCONNECTED SOCIETY.

M
A
T
T
H
A
L
L
E
T
T
MATTHEWCHARLESHALLETT@HOTMAIL.COM
W W W. H A L L E T T V I S U A L S . C O . U K
BASED IN FOREST SCENES, THIS SERIES DEPICTS
A NARRATIVE THROUGHOUT FOCUSING ON
THE DECISIVE MOMENT IN AN UNUSUAL AND
MYSTERIOUS WAY. THE NARRATIVE IN THIS SERIES
IS FOUNDED UPON LITTLE RED RIDING HOOD
BUT IS PORTRAYED IN A CONTEMPORARY STYLE.

A
M
I
I
L
I
F
F
I N F O @ A M I - I L I F F . C O . U K
W W W . A M I - I L L I F F . C O . U K
WITH FIGURES SUGGESTING THAT NEARLY A
QUARTER OF THE UK WILL HAVE SOME FORM
OF HEARING IMPAIRMENT BY 2030, I FELT IT WAS
IMPORTANT TO FIND A NEW WAY TO EXPERIENCE
SOUND BEFORE IT IS LOST FOREVER. TAKING
INSPIRATION FROM THE MUSICAL WORK EARLY
TWENTIETH CENTURY PIONEERS SUCH AS
WAGNER, SCHOENBERG, KANDINSKY AND
MANY MORE, I CREATED A NEW LANGUAGE
THAT BLENDS TOGETHER SIGHT AND SOUND
IN AN ATTEMPT TO BRIDGE THIS GAP BETWEEN
HEARING AND NON-HEARING WORLDS.

G A B R I E L L A J A C K S O N
GABRIELLA@GABRIELLAJACKSON.COM
W W W. G A B R I E L L A J A C K S O N . C O M
WITH THIS PROJECT MY AIM WAS TO CONTRAST
OVERLY AIRBRUSHED IMAGES PRESENT IN THE
FASHION INDUSTRY TODAY, AS I DISAGREE WITH
THE NEGATIVE EFFECT THEY HAVE ON WOMEN.
I SET MYSELF A CHALLENGE TO SEE IF I COULD
CREATE A DIFFERENT STYLE OF FASHION IMAGERY
THAT VIEWERS STILL FOUND INTERESTING.
FURTHER DEVELOPING THIS IDEA I QUESTIONED
WHETHER THERE WAS A NEED FOR A MODEL TO
BE PRESENT, RESULTING IN THE MAJORITY OF MY
IMAGES CONTAINING NO MODEL; BUT INSTEAD
HUNG CLOTHES UPON A LIGHTING STAND.

A T E
TS &
TACT
AILS
O
A
N
A
C
E
L
I
N
A
C O N T A C T @ N O R E E . C O . U K
W W W . N O R E E . C O . U K
FOR THE PAST YEAR, I HAVE BEEN EXPLORING
SELF-SET THEMES OF FASHION PORTRAITURE,
TAKING INSPIRATION FROM HAUTE COUTURE
EDITORIALS AND EN-VOGUE CAMPAIGNS AND
WORKING ON TECHNIQUE DEVELOPMENT.
EXUDING ON PERSONAL INTERESTS AND
PREFERENCES, SUCH AS ETHICS, SYMBOLISM,
CLASSICISM, ROMANTICISM AND THE RELATIONS
BETWEEN SHAPE AND COLOUR OR LIGHT AND
DARK, AS AN ECHO OF MY CORE BELIEFS THAT
IN ORDER TO CREATE GREAT ARTWORKS, THE
ARTIST MUST STAY TRUE TO HIS/HERSELF, FOR
A FAKED INTEREST WOULD ONLY GENERATE
WORK WITHOUT DEPTH AND MEANING.

S O P H I E F I E L D I N G
S O P H F I E L D I N G @ G M A I L . C O M
W W W. S O P H F I E L D I N G . C O M
TAKING A BACKSEAT FROM PHOTOGRAPHY, I
HAVE DECIDED TO WORK TOWARDS PUBLISHING.
I CREATED HELLO IM AS A PRINTED NEWSPAPER
AND
INTERACTIVE
IPAD
APPLICATION
ABOUT
YOUNG
TALENTED
INDIVIDUALS
UPANDCOMING IN THE INDUSTRY. THE IPAD
VERSION INCLUDES A FASHION DESIGNERS
DRESS IN FULL 360, SWIPING GALLERIES OF
ARTISTS AND FULL VIDEOS. I CROSSED MY
LOVE FOR PRINT AND DIGITAL BY CREATING
THE PUBLICATION FOR TWO MEDIAS IN FROM
DIFFERENT WORLDS. I BELIEVE THE PUBLISHING
INDUSTRY IS CHANGING, BUT NOT DYING.

NICOLAHAWDONPHOTOGRAPHY@
H
O
T
M
A
I
L
.
C
O
M

W W W . E L E R I H U X T A B L E
P H O T O G R A P H Y . C O M

A
L
I
J
O
H
N
S
O
N
A J I M A G E R Y @ L I V E . C O M
W W W. A J I M A G E R Y. 4 O R M AT. C O M
INSPIRED BY A ROLAND BARTHES QUOTE,
THIS WORK IS A PHOTOGRAPHIC EXPERIMENT
INTO IDENTITY AND THE CULTURE OF MODELS.
THE SITTERS INVOLVED HAD NO MODELING
EXPERIENCE, THEY WERE ASKED TO POSE AS
A MODEL WITH THE ADDED INFLUENCE FROM
HAIR, MAKE-UP AND STYLING. THIS COLLECTIVE
OF CREATIVES POSSESSES AN AFFLUENCE OF
CONTROL WITHIN FASHION PHOTOGRAPHY
AND THEY BECAME TOOLS IN ORDER TO RECREATE A MODELS ENVIRONMENT. IN A SINGLE
FRAME THE SITTERS ARE ASKED TO PRESENT
THEIR PERCEPTION OF MODEL BEHAVIOR AND
APPEARANCE. THE PROJECT IDENTIFIED WHO I
AM AS A PHOTOGRAPHER AND PROVES THAT A
MODEL CAN BE MOLDED WITHIN A SINGLE FRAME.

V
I
C
K
Y
S
Y
M
O
N
S
VICTORIA.SYMONS@HOTMAIL.CO.UK
W W W. V I C T O R I A S Y M O N S . C O . U K
FRAGMENTED IS A SERIES OF PHOTOGRAPHS
THAT DISPLAY THE DESTRUCTIVE POWER OF
AN AIR RIFLE. THE IMAGES FOCUS ON THE
TEXTURES, PATTERNS AND CONTRAST CREATED
BY SHATTERED GLASS, WHEN SHOT BY A SMALL
METAL PELLET. MY WORK HAS DEVELOPED
AWAY FROM THIS INITIAL CONCEPT OF BEFORE
AND AFTER INTO A SERIES OF IMAGES WHICH
FOCUSED ON THE UNIQUE QUALITY, AND
TEXTURE OF GLASS. DURING POSTPRODUCTION
I DECIDED TO SELECT PHOTOGRAPHS THAT
INCLUDED THE DISMEMBERED PELLET. MY
SHORT SERIES OF INTRIGUING ABSTRACT
IMAGES PLAY WITH THE CONCEPT OF POWER,
DESTRUCTION
AND
FRAGMENTATION.

CON
TIN
UED
. . .
A L V E E N A T A R I Q
A LV E E N ATA R I Q @ G M A I L . C O M
WW W. ALVEE NATA RIQ .CO .U K
MY PROJECT IS LOOKING AT ANDROGYNY AND
THE CONCEPT OF REMOVING THE GENDER
BARRIER WHEN TRYING TO DEFINE A PERSON. I
AIM TO BLUR THE LINES BETWEEN MASCULINITY
& FEMININITY, AND WHAT IT MEANS TO NOT FIT
INTO THE TYPICAL GENDER ROLES OF SOCIETY.
I HAVE DONE SO USING BOTH COLOUR AND
BLACK & WHITE IMAGES WHILST UTILISING
SKILLS OF STYLISTS AND MAKE-UP ARTISTS
THAT UNDERSTAND MY CONCEPT AND SEE
THE RESULTS I DO. THEY HAVE BEEN TAKEN
INVOLVING REAL PEOPLE WHO EMBODY
TRAITS OF THE OPPOSITE SEX BUT DO NOT FIT
INTO THE STEREOTYPE OF A GENDER ROLE.
R
Y
A
N
W
E
L
C
H
RYAN-WELCHPHOTOGRAPHY@HOTMAIL.COM
W W W. R T W P H O T O G R A P H Y. C O . U K
THE PROJECT HAS BEEN AN EXERCISE IN
TRYING TO WORK WITH PROFESSIONAL
MODELS IN ORDER TO BREAK THROUGH THEIR
MODEL PERSONA AND REVEAL THE PERSON
UNDERNEATH, A PERSON THAT AN AUDIENCE
CAN RELATE TO RATHER THEN ASPIRE TO BE
LIKE. WHEN UNDERTAKING THE PROJECT IT WAS
CLEAR THERE WERE A NUMBER OF LIMITATION
AS TO HOW THIS WOULD BE ACHIEVED,
HOWEVER, I HAVE MANAGED TO CAPTURE A
MORE THOUGHTFUL AND AUTHENTIC PERSON
UNDERNEATH THE MORE OBVIOUS AND
SUPERFICIAL INITIAL POSES AND APPROACHES
THAT TYPIFY COMMERCIAL PHOTOGRAPHY.

R E B E C C A T O N E R
R E B E C C A . T O N E R .
P H O T O G R A P H Y @ G M A I L . C O M
W W W. R E B E C C AT O N E R . C O . U K
PULL ME, PUSH ME IS A VISUAL REPRESENTATION
OF THE CONSTANT POWER STRUGGLE SEEN
IN RELATIONSHIPS PORTRAYED THROUGH
CONTEMPORARY DANCE. FOUR VARYING
COUPLES REPRESENT A STRUGGLE IN THEIR
PARTICULAR RELATIONSHIPS OR FRIENDSHIPS.
THESE IMAGES DEMONSTRATE THE NEGATIVE
ASPECTS OF A COUPLE DYNAMIC, WHICH IS
REPRESENTED THROUGH THE CONTRASTING
BEAUTY OF DANCE. THEY CATCH A
FLEETING MOMENT THAT IS NOT USUALLY
SEEN AND ALLOWS IT TO EXIST FOREVER.

C R E A T I V E

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