Cristina Rizzi Guelfi

Dream House | In the house time slow down, hair on the floor look darker without a linoleum frame. Something scorching haunts the flats.All movement carefully crafted, taking notes of the chairs position, how the curtains let the light in, way too many ornaments on every surface. Housing women coming from nowhere, at the foot of a shitty hill, builded upside-down, little screws stabbed in the joints, wired deep under a fragile skin, right through the nails.

Flimsy monsters, dressed in chiffons and ballerinas shoes.Surrounded by the scent of hair dye blended wi' chicken soup, pulled by the hair into a crazy routine, sitting on the green chair of ambiguity ..That golden boring fine line,day after day,same old shit  either with friends or strangers.,walls painted too bright,smell of fear,a call to run away..Houses hide every secrets.

Vamsi Krishna

Wings | The special in the mundane – stories hidden in plain sight – the devil in the details.

I do photography since I see it as the truest expression of my personality. Flowing lines, diverse and harmonic colour palettes, and rich blacks and whites are all essential elements present in my photographs. While many of my pictures have a sense of distance and objectivity, I also try to find stories in the smallest of objects.

Electric pylons, water, flora, everyday objects, street pickings, dead bugs, graves, living faces, and interesting places, are mostly the subjects I work with.

My work is heavily influenced by my complicated relationship with people, the diverse forms of music I listen to, the literature I read, and the art I appreciate.

Jeremy Knowles

8AM WALKS | 8am Walks is built upon one simple instruction: Leave the house at 8am with a camera and walk.

This ongoing series seeks out colour and vibrancy in Germany's grey capital, and catalogues a specific time of day with a unique pattern of light. Taken as part of a daily routine over the course of over two years, images from this series document overlooked and unnoticed aspects of Berlin life and bring greater exposure to the patterns, repetitions and coincidences that disrupt the dull.

Vol. 1 of this series was made between 2017 and 2018, and features photographs taken within Berlin neighborhoods along morning walks.

Allen Morris

ISO | Landscape, cultivated from nature through the hands of humans in an effort to drive the needs and wants of a society, is the metaphor that I use in this body of work to explore the ideas of history, security, identity and place both in geographical and psychological terms.

 Even when living in an urban environment, I believe that there is a connection that humans seek out between themselves and the landscape that they inhabit. As creatures, we make connections to the spaces that we inhabit; we attempt to intertwine the narratives of place with our own individual story to form a connection with our geographical and psychological places in life. This drive to meld with the population that surrounds us, or the landscape that we find ourselves existing within, provides a sense of stability and security.

However, when epochal changes occur within our own individual history, the security that we seek from our physical surroundings and those with whom we interact becomes more difficult to find. It is the search for those feelings of stability in a time of place insecurity that can be seen in the photographs that comprise “ISO”.

Using the landscape as a stage on which to act out these feelings of insecurity, “ISO” explores the tense feeling of uncertainty felt while searching for something to hold on to - a place of security and permanence in which to take root. The moments of stability provided by these static objects found within these photographs provide a brief moment of security, reassurance, control, and order in the face of uncertainty and chaos.

ken collins

Light Touches Paper | Each photograph is a means to discover and develop an invented image. These photographs share the same dimensions and vertical format, allowing for a nuanced experience of interior shapes, light and tonal range. There is a purity in form, execution and materials. The attempt is to create compelling images with light and simple ordinary materials.

Mariia Kokunova

THIS CITY IS JUST A VERSION OF YOU | I have no chance to get into other tram. They always run along red rails. All the trams are, actually, one single tram. All the cities are one single city. 

I'm stepping into the existing footsteps. The footsteps are running away straight, they do not wave. Reflexively I move my foot but I am not moving an inch forward. The same accurate prints appear under my feet at the same very places. The footprints pattern coincides with the length of my step. I have walked here before, outrunning myself, have let myself behind. There is no chance to step away from this path… 

Karla Guerrero

Jorge | For me, the meaning of family is a mystery my grandfather Jorge used to take photographs of everything developing a family archive that nowadays is unknown to me and full of interpretations. In 2006 he suffered brain damage and since then I kept his photographs. 

Understanding how visual language is modified due to illness or damage was necessary to start making new compositions with medical archives, documents, and X-ray of my grandfather. The idealization of the past is dragged by events of the present.

John Kinney

Atomic Power | This is a series of photographs I took while traveling with my father in Asia. Europe, and the United States as he consulted with scientists and construction crews for nuclear reactors. Sometimes people at the reactors would wonder why I was taking photos, but my father would just say, "He knows what he is doing. Don't worry." After that no one would question it. He liked the idea of someone else taking pictures for him, and he knew I needed something to do to stay busy. These photos were taken in the late 80s and early 90s. At this point, I was fairly new to photography, and had only taken a photography class in middle school. Many of the photos were taken in a hurried manner as I was often walking briskly with a group.

Corentin Hais

My name is Corentin Hais, I'm 24 years old. Passionate about visual arts (photography, illustrations, paintings, videos), I decided to pursue an education in the field of photography. I first completed a professional bachelor's degree in photography at Victor Laloux High School in Tours. I was able to learn the basics of photography. 

In 2015, I joined the ETPA photography school in Toulouse. These three years have allowed me to meet many people who have enriched my knowledge, but above all I have been able to awaken my artistic reflection and photographic sensitivity.  My passion leads me to experiment in several fields: portraits, still life, landscapes.

Why photography?

What I like about photography is the banality, in order to bring another perspective. Sometimes it only takes a moment to admire this banality. We are all so afraid of the passage of time, of how things change or how they disappear, that's why we make pictures. We want to preserve all this, it's our nature. If we take pictures it is to stop time and to freeze moments for eternity. To make human nature more obvious.

Mark Griffiths

Healing Land | The Chernobyl meltdown was the biggest nuclear catastrophe in world history. 99 per cent of the Belarusian land has been contaminated to varying degrees above internationally accepted levels as a direct result of the disaster. The villages and towns that are in close proximity to the epicenter of the reactor have been eerily abandoned and remain desolate.

The people of Belarus are very self-sufficient, they grow their own crops and vegetables, farm livestock and source water from nearby lakes and reservoirs. With 70% of contamination coming from food and water however, the poisoned earth continues to infect those that depend on it.

An astonishing 85 per cent of Belarusian children are deemed to be Chernobyl victims: they carry “genetic markers” that could affect their health at any time and can be passed on to the next generation. A vicious cycle that unfortunately could continue for hundreds if not thousands of years.

The government of Belarus and the Ukraine established that all affected children should leave the contaminated regions for at least one month abroad every year. They believed the fresh air and uncontaminated food would give the children a vital boast to their immune system.

The Chernobyl children’s lifeline was founded to help affected children receive the recuperation they so vitally need. The charity carried out scientific research to determine whether a clean environment would benefit those affected. From 4000 children that were examined the results determined that the radioactive elements in a child before and after a 4 week visit to the U.K dropped by an average of 68 per cent. The immune system of a Chernobyl child needs a kick-start to help fight potential illnesses and diseases.

This year 8 children were brought to the pristine county of Pembrokeshire in West Wales, U.K. the region is considered an area of outstanding natural beauty. The environment boasts clean air quality, blue flag beaches and spectacularly dense woodland and breath taking countryside views.

The children participate in a number of recreational and educational activities and outings during their stay, from long sunny days at the beach to indoor karting. They also receive free medical check ups including eye tests and dental appointments to ensure a clean bill of health.  The aim of the charity is to make the experience as enjoyable as possible while the clean air and unpolluted land takes its natural course of healing the wounds

Marco Barbieri

The Granary | An epiphanic journey through nationalism, religion, economic crisis, a glorious past and a failing infrastructure in Ukraine, the second (and often forgotten) biggest nation in Europe. Shot in medium format during two trips to Ukraine in 2017 and 2018. @_m_barbieri

Adam Razvi

MY MAY YOUR MAY | ‘…the shadows of reality, so to speak, emerge out of nothing on the exposed paper, as memories do in the middle of the night...’ - W.G. Sebald 

The work addresses the relationship between photography and memory like a pair of untrustworthy twins. Reflecting on past events in Zurich and Athens encountered by two individuals, (who now live together as a couple in London), the individuals return to reclaim fragments of memories - four years removed from critical experiences, which took place simultaneously in May 2014. Collectively, a new narrative is born, as the reality of actual events blur and transform with the passing of time. 

The series’ contact sheet, is traditionally a working-tool for photographers to glimpse what they have captured on a roll of film. The sheet helps to situate a single image within a wider context. But this contact sheet is not to be trusted. Freud suggests that recollections of past events are distilled by what we want, or perhaps need to remember. Indeed, consciously or not, we are not passive viewers of our experiences.  Freud's notion is visualised with prints of enlarged details extracted from the contact sheet, which can be considered significant and traumatic 'fragments of memory'. For every year passed from the actual events that took place, another fragment has been produced by making a contact print from the preceding print. This results in a chain of distortion – perhaps a more truthful representation than the original photograph or projected memory, highlighting photography's limitation to show 'the complete picture' and memory's subjective and non-fixed nature.   

The work is made solely with analogue techniques in a black and white darkroom. As unique objects, the 20''x24'' prints embody durations of time and processes, representative of the memories reflected on and examined by the protagonists. 

Stefano Barresi

Eulogy to Solitude | The Solitude is normally a feeling that's people considered negative but is also one of the most universal feelings that exist. When the disorder of the world is rising, even the background noise grows to cover any coherent signal and that's when we hear the strong call of the sense, the most true and pristine.

The sense of the origin The return to our origins is the pursuit of our loneliness that leads us to the comparison with the other's loneliness. In your solitude you have a time to knows yourself to think about your positive qualities and your negative side. You have a time for understanding the world around you and find consciousness.  

So if loneliness can teach something then it is not wasted time. I think that, if you are not able to be alone with yourself, probably you will not be able to really be with others. Walking with a camera in hand, looking around catching details even unintentionally looking for that sense that otherwise can not be caught so by osmosis between the bla bla bla of worldly chatter because; "there is nothing like the solitude of an endless walk for poor roads, where you must be miserable and strong, brothers of the dogs." (Pier Paolo Pasolini)

 Eulogy to Solitude is a part of a project that i called "About photography". I hope that you can look at this series of photos as a meeting between mine and your solitude. And enjoy it.

Max Heller

This collection of images was taken over the past several years, shot while visiting my grandparents in upstate NY.  Ever since I was a kid, visiting this place has always felt something like a journey through time. Tucked away in the hills and river valleys just south of the Adirondack range, the village of mohawk sleeps quietly. Here amidst the rust belt decay I find beauty in the physical erosion, fossils and gemstones, glacial potholes and other traces of the ancient past.

Gleb Simonov

"The world has no name, he said. The names of the cerros and the sierras and the deserts exist only on maps. We name them so that we do not lose our way. Yet it was because the way was lost to us already that we have made those names. The world cannot be lost. We are the ones. And it is because these names and these coordinates are our own naming that they cannot save us. That they cannot find for us the way again." – Cormack McCarthy, "The Crossing" (1994)

Places are animals: we encounter them unexpectedly and on terms that are not entirely clear to us. Foreign and inarticulate, they present us with semiotics unlike our own, our efforts to understand them now scattered across a variety of sciences, arts and fields. We don't even know, which part of it is important.

Uneven Encounters was shot in the deserts and reservations of new Mexico. It seeks to cover the broad range of the land's structural and geologic variety in an attempt to engage with it.

Jeanne Menetrier

HEN | Sensitive, complex, nuanced, exacerbated, sexual, homo, bi, hetero, white, black, woman... man. There a re a plethora of terms defining a person. But gender is one of those archaic concepts still defining our modern society. Exempt of nuances, this binary idea is, today, questioned. With it, our whole identity evolves. It is then the nuances of the infinite plurality of the interval that humanity is exploring.

Free from all constraints, Jeanne Ménétrier draw up a 3-year cartography of emotional travel where the limit, the box, the sharpness, the simplicity give away to the unknown, to the confusion, to the incoherence of the infinite ambiguity of genders.

With her work, she explores this infinite complexity of human identity, meeting characters, whose only criterion of selection was the emotion they gave to her. Jeanne records the unsettling, foggy and hazy reflection of their gender, but above all, their identity.

Lauren Grabelle

PHOTOGRAPHER X | In the late 1990’s I slipped anonymously into a job in the surveillance department at one of the largest casinos in the world.

There I found myself with over 800 cameras at my fingertips, and at the push of a button, the option to print a frame seen on the monitor before me while searching remotely for human indiscretions.

I became Photographer X.

Pablo and Roxana Allison

Whilst studying photography in 2005 my brother Pablo was commissioned to take pictures inside Wormwood Scrubs Prison for the council-led project Prison Me. No Way! Pablo was unaware at the time that seven years later he would be back in serving a nineteen-month prison sentence.

In early March 2010 the police raided Pablo’s room; cameras, rolls of film, sketchbooks, pens and his computer were all confiscated and he was subsequently arrested. He called me that morning to tell me that this would be the beginning of a long police investigation involving several graffiti artists. We learned that Operation Jurassic (the official case name) was a major anti-graffiti police investigation being carried out since 2003.

 The Crown Court sentenced Pablo and four other graffiti artists to various prison sentences in November 2012. The combined lengths amounted to 11 years.

The result of our journey is this eight-year-long photographic collaboration titled Operation Jurassic. Our visual account includes legal documentation, paperwork, letters, diaries, drawings and photographs that uncover emotions and the passing of time offering the viewer an intimate approach of the legal process whilst raising issues on freedom of expression and justice.

A limited edition self-published book with an introductory essay by writer, curator and educator Pete Brook was launched in 2018 and is now sold out. To view the project visit:

Wayne Swanson

Self-Portraits with Stenosis | I’m not that old. At least, that’s what I like to tell myself. But my body would beg to differ. What began as soreness and stiffness in my legs progressed to more intractable pain, stiffness, shocks, and numbness. Getting to “why” involved understanding a fundamental disconnect between cause and effect: the problem is in my back, not my legs.

 The diagnosis: Severe spinal stenosis and degenerative disc disease. The effect: Narrowing of the spinal canal, which constricts the nerves leading to the lower body. The result: Lumbar laminectomy and thoracic fusion — so far. The prognosis: Who knows?

 I began this series assuming that I was documenting an episode. I now realize that it’s a new reality, shared by many, when we must question basic assumptions about health and personal mobility.

Maria Ansell

89 | I am currently in my third year studying photography at Manchester School of Art, I have an interest in developing narratives based around specific people, places and objects. Especially those I have a personal connection to. I enjoy both traditional documentary portraiture and appropriation. By investigating multiple approaches to image making I aim to create a broader picture of my subject.

  These images are from my personal project '89'.  In this series I have approached the topic of memory in the photographic image. My grandfather's recent Alzheimers diagnosis has challenged the way I think of memories and our obsession as a society with capturing ‘perfect’ moments. So much so that I think we distort our own memories until we no longer know what is true. I am aware that my perspective is biased, I am photographing from the point of view of someone pre-emptively mourning, I am intentionally looking back on fond childhood memories and trying to immortalise a feeling of comfort.

 I have combined both appropriated family photos and created my own images, focusing on the house in Nottingham my grandfather has lived in for 50 years, which he has now left to come and live in our family home. I am trying to encapsulate the sense of nostalgia in a grandparents home which I think a lot of people can relate to. There is a strange juxtaposition in his house, warm childhood memories combined with the sombre feeling of leaving a space and being unwilling to lose the memories attached to it. My aim with this work was to draw on shared experiences, nostalgia and stereotypical family moments. I hope that after you view these images you are reminded of your own family, moments and spaces you find important.