Scarlett shared work at Photo Scratch in July 2017. She graduated from Plymouth University and is based in the South West of England.
The opportunity to share an ongoing body of work at Photo Scratch has been really valuable. Having graduated earlier this year it was a chance to reach a wider audience and gain feedback from both those in the industry or those with an interest in photography. It also helped me develop in confidence when talking about my work as the setting is informal yet still allows for constructive dialogue. I have developed some great contacts from the evening and have already followed some of these up with further meetings.
‘Powolani przez Boga’ began during a long term self-initiated study in Poland during my second year of university, and is a documentation of the feminine adoration of God that explores beyond a superficial perspective of women’s role in the Catholic Church, through seeking to understand what makes these women give their lives to God. The sisters display an inner contentment that many in a contemporary society would envy. This comes from the belief that they have been called by God. The calling and dedication to the church is not tangible, some would argue that the presence of God does not exist, however for the women of the Felician Franciscan Congregation it determines their path through life. My intention was to develop this work following graduation and the feedback from Photo Scratch has enabled me to formulate my ideas going forward. I’m now looking forward to returning to Poland with a fresh perspective.
Peter Spurgeon is a photographer based in Bristol working throughout the UK. He graduated from the MA in Documentary Photography in Newport in 2016 and shared this work-in-progress at Photo Scratch in July 2017.
My ‘Decoy’ project concerns a secret British Air Ministry project that took place during the Second World War. Sound City film studios in Shepperton was commissioned to design fake cities, airfields, docks and oil refineries. Fires and electric lights were used to make the dummy sites to look like real targets when viewed from the air at night. This was so that enemy bombs would be diverted away from the true targets. Today, only control bunkers remain at many of the sites as crumbling reminders of this forgotten endeavour. They sheltered the crew and housed generators for the lights. This simulation diverted 5% of enemy bombs away from their intended destinations.
I have used archive sources from the National Archives and the RAF Museum to better understand the sites and to give historical context to my images. I introduce theatrical lighting to animate the landscape and to evoke visual deception in war.
Photo Scratch was a great opportunity to share my project and to discuss it with a varied audience. Setting up during the afternoon was a chance to meet the other photographers and discuss their work. 6pm soon arrived and there was a real buzz as people arrived at the event. The atmosphere was energetic yet relaxed and it was rewarding to have some in depth discussions about my project. It was a good environment to see and discuss everyone’s work. The opportunity for visitors to leave written feedback is an effective way for photographers to gain constructive observations and criticism.
To find out more or follow Peter’s work:
Nick St. Oegger is a photographer from California, who more recently has been working in the UK after completing his MA at Westminster. He shared work-in-progress in the July 2017 edition of Photo Scratch. Here he shares some insight about the experience.
This was my second time participating in Photo Scratch and was another great evening. I shared a project I have been working on for a few months in Albania, about Europe’s last un-dammed river. I’ll be exhibiting the work in September and plan to start working on a book design, so it was a great opportunity to see the work on the wall and get some feedback. One of my favourite things about coming to Photo Scratch is meeting people who have no connection to photography and hearing their responses to the work. It makes for a relaxed environment where you still end up getting some great feedback and new perspectives on your work.
To see more of Nick’s work:
Photographer and regular attendee of Photo Scratch, Kathy Anne Lim is this week launching a new online photography magazine. The first edition will feature Simon Martin and Andreea Andrei among others, both of whom shared work at Photo Scratch in our April 2017 edition.
We’re excited to see what this new platform, focusing on analog photography, will bring! Read on for more details…
Losthenfound brings analog photography, to a digital audience. We aim to cultivate a digital lightbox of work based on ongoing projects from photographers. Creating a platform to showcase processes, projects and discuss philosophies of the medium. Based in London and accepting submissions worldwide.
Our website is launching on the 13th-15th of July 2017 at 12pm GMT, the first week of 3 image makers include Simon Martin, Andreea Andrei & Irene Gonzalez. Showcasing a breadth of work from social documentary, personal Polaroids to devastated landscapes.
Join us for the 10th edition of Photo Scratch!
Book your free ticket via THIS LINK.
Sharing work-in-progress will be:
Heather Agyepong – www.heatheragyepong.com
Lewis Bush – www.lewisbush.com
Scarlett O’Flaherty – www.scarlettoflaherty.com
Noela Roibás – www.noelaroibas.com
Peter Spurgeon – www.peterspurgeon.photo
Nick St Oegger – www.stoeggerphotography.com
Mariya Ustymenko & Che Kevlin – www.timeframearts.com
Post updated 24.06.17
Kevin Percival has shared work at Photo Scratch in January 2017 and July 2016. Very happy to share the news that Kev has an exhibition in Ullapool in Scotland!
He is also raising funding to publish a book of this work. Have a look and support if you can! https://www.kickstarter.com/projects/kevpphoto/tanera-ar-duthaich-a-photobook-about-a-scottish-is
Tanera (Ar Dùthaich) focuses on a tiny island off the west coast of Scotland, where I lived and worked for several years. The island had a very small population when I lived there, but has a particularly interesting and close relationship with the local mainland communities. Many have lived or worked on the island, on the fish farm in the bay, fishing or running tours in the waters around the Summer Isles archipelago. As such Tanera occupies a specific place in hearts, minds and mythologies of the local people. The photographs are a ‘portrait of place’, shown through the people and the marks and effects they have on the landscape around them. Given the island’s small size, these traces often exist together, in close proximity, so you can see the effects of families living on the land 200 years ago, right next to what is happening today. Visually I wanted to acknowledge the romanticism of the Scottish wilderness, but contrast that with modernity- emphasising that this is a current workplace and home. Rural populations in Britain seem under-represented, both politically and photographically, and I wanted to present a project which encourages conversation around rural living and issues.
Given the current divisions within the UK, I hope projects like this can find a new role in reminding us of both our differences and similarities. Ultimately seeing each-other, and how we live is the first step towards generating a better understanding.