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The UKs new free

photography magazine04FEATURETim Smyth 07IN PROFILEAlec Jackson 10RWA Open Photography 2

03News & Vignette 14Portfolio Review 15Listings & Open Submissions

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2

BenBishop,Editor

Cover AlecJackson

FocusWelcometoVignette,theUKsnewestphotographymagazine!

Eachissuewillbefullofinspiringphotographyfromavarietyofartists,andinformativefeatureshighlightingtechniquesandprocesses.Therewillalsobedetailsofexhibitions,festivalsandopensubmissioncompetitions,andotheropportunitiesforyoutogetinvolved.

Forthis,ourlaunchissue,wemetupwithphotographicartistAlecJackson,whoprovidedourstunningcoverimage,andfoundoutthesecretsbehindhiswork.LondonphotographerTimSmythtalksabouthislatestprojectOneHundredandThirtyNineDefectiveCarrotsandwealsoreportfromtheRoyalWestofEnglandAcademyssuperbOpenPhotography2exhibitionandmeetsomeoftheartistsinvolved.

HereatVignettewehavelotsofplansforfuture

content,butwelcomeyourideas.TherearealsomanyopportunitiestohaveyourownworkincludedinfutureissuesthroughthePortfolioReview,Page3PortraitandVignette.Youcankeepuptodatewithusonlineatvignettemagazine.com,Facebook,FlickrandTwitter.Wehopeyouenjoythemagazine.

EveryissueofVignettegivesphoto-graphersopportunitiestogetinvolved.

Page3Portrait.Forconsiderationpleaseemail1portraitphotograph.Closingdate30thMay2011.

PortfolioReview.Email4photographswithsomebasicdetailsaboutyourphotographicexperience.Closingdate15thMay2011.

Vignettefeature.Thisisa2partsubmission.Submitanimagetobewrittenaboutbyemail.Closingdate30thApril2011.Thechosenimagewillthenbepublishedonourwebsite.Yourvignetteinresponsetotheimageshouldbearound100wordsandsubmittedbyemail.Closingdate30thMay2011.

Ifyouhaveastorytotell,newstoshareorhaveamazingphotographsthatyouthinkwouldmakeaninterestingarticleorfeatureinafutureissueofVignettepleasegetintouch.Emailtheteamatcontact@vignettemagazine.com.

Vignette31BaldwinStreetBristol,BS11RG

VignetteisrunbyUKphotographicprintingspecialists,Photographique.www.photographique.co.uk

Allrightsreserved.AllmaterialinVignettemaynotbereproducedortransmittedinanyformwithoutwrittenconsent.AllcontentinVignetteappearscourtesyofthethecontributorandcopyrightremainswiththecontributor,whereidentied,andwithVignettewherenot.Vignettehasmadeeveryefforttochecktheaccuracyofthecontentofthemagazineandallinformationwasbelievedtobecorrectatthetimeofprint.E&OE.

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VIGNETTE3 NEWS

Ilikeitwhenpassersbystopandtalktomethroughthewindow.Thisexpressionseemstobeonethatdrawsmostattention.Theresawomanacrossthestreetlookingthisway.Bullseye!ShesfollowingmylineofsightandtryingtoseewhatIamlookingat.Nowwerebothlookingatthecafacrossthestreet.InaminuteshellbeoverheretocheckifImallright.Theyusuallydo.Hopeshesgotsomethingtastytoslipinthroughthetopoftheopenwindow.

Writer:LindaBroadbentPhotograph:BobEnship

Yourimageorstorycouldfeaturehere-seepage2.

BorninLondon,JamesKriszyknowlivesintheCotswoldsandworksallovertheUK.JamesgraduatedfromtheUniversityofGloucestershirein2008withaBA(Hons)inEditorialandAdvertisingPhotography.Heisnowapart-timevisitinglecturerinportraitphotography.Hisworkismainlyconcernedwithpeopleandthehumancondition.Hetriestocapturethisineveryimageheproduces;fromthestudioportraitsthatholdmanylayersfortheviewertoread,tohispersonalwork,wherehephotographstheday-to-dayunscriptedtheatreoflife

onthestreetsofpost-recessionBritain.WhatguidesJamesinhisworkishisspontaneousreactiontowhatheseesinfrontofhimandthecontinualsenseofwonderhendswhenframingtheworldwithhiscamera.

www.kriszyk.com

www.james-wonderblogger.blogspot.com

www.ickr.com/photos/kriszyk

Page3Portrait.Fordetailsofhowtosubmityourportraitphotographforconsiderationforafutureissueseepage2.

1. An unbordered picture, oftena portrait, that shades off into thesurrounding color at the edges.

2. A short, impressionisticscene that focuses on one moment orgives a trenchant impression abouta character, an idea, or a setting.

Section 44 ReformHomeSecretaryTheresaMayannouncedinearlyFebruarythatanewlawwouldbedraftedtoreplacethecontroversialSection44.ThisfollowspressurefromgroupssuchasImaphotographer,notaterrorist,civilrightscampaignersandongoingmediacoverageoftheissue.

Themoveislikelytobepopularwithphotographersasinrecentyearsanincreasingnumberofpeoplehavebeenstoppedandsearched,orbannedfromtakingphotographsincertainlocations.Therevisedpolicywillreducesuchincidents,asstop-and-searchpowerswillbeseverelylimited.

Bristol Festival of PhotographyAfterthesuccessoflastyearsBristolFestivalofPhotography,planningiswellunderwayforthenextfestival,settotakeplaceinMay2012.

RecentlythefestivalcollaboratedwithBristolsRoyalWestofEnglandAcademy,offeringaseriesoffreeseminarsandeventsduringtheirOpenPhotography2exhibition.ThefestivalalsosponsoredaprizeawardedtoColinPowellforhisstunningblackandwhitelandscapes.TheawardgivesthewinnertheopportunitytohaveanexhibitionattheGrantBradleyGalleryinBristolduringthefestivalin2012,exhibitionadvicefromphotographerMartinEdwardsandavoucherfromPhotographique.

www.bfop.org

London Street

Photography FestivalTakingplacebetweenJuly7thand17th,theLondonStreetPhotographyFestivalaimstogivestreetphotographyahomeintheUKandprovideLondonerswithacelebrationoftheircitythroughthisessentialtradition.

Afullprogrammeofeventscanbefoundonline,alongwithdetailsofhowyoucanentertwocompetitionsandpotentiallywintheInternationalandStudentStreetPhotographyAwards.

www.londonstreetphotographyfestival.org

The Museum of LondonTheMuseumofLondonishostingamajorexhibitionshowcasingover200imagesfrom59photographers.

ThroughthethemeofStreetPhotography,theexhibitionaimstoexplorethediversityofeverydaylifeinthecapitalandreectontherelationshipbetweenthephotographers,theirsubjectsandtheirsurroundings.Particularemphasisisdrawntothechangingattitudestowardsphotographyinrelationtoprivacyandanti-terrorismlaws.

Theexhibitionwillrunfrom18thFebruaryuntil4thSeptember2011.Aseriesofseminarsandworkshopsareplannedtocomplementtheshow.

www.museumoondon.org.uk

Canon Release 600D and 1100DThelatestadditionstoCanonsrangeofdigitalSLRbodiesareexpectedtobeavailableinearlyApril.The600Dboastsan18megapixelCMOSsensoralongwithfullHDEOSvideorecording,3.7fpsshooting,and9pointautofocus.ItisalsoCanonssecondcameratoincludebuilt-inwirelessashcontrol,aparticularlyusefulfeatureforstrobistphotographers.

The1100DreplacesCanonscurrententrylevelDSLR;the1000D.Itfeaturesa12megapixelCMOSsensor,anISOrangeof100-6400,andthesame63-areaiFCLcolour-sensitivemeteringsystemasusedinthe7D.

CanonwillalsobeunveilingMkIIversionsofthe500mmand600mmF4USMlenses,aswellastwonewSpeedliteashguns.

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4 FEATURE One Hundred and Thirty Nine Defective Carrots

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VIGNETTE5 FEATURE One Hundred and Thirty Nine Defective Carrots

I leave my at at roughly 6:30 am. Its Mondayand Im feeling rattled following a particularly

self-indulgent weekend. I nd solace howeverat my local bakery, BREAKFAST BAP & TEAor COFFEE 2.00. Ketchup please milk andone thanks. The streets are still and quiet as I

turn down Mildmay Grove South to the rental carclub bay. A ock of geese y south overhead inan arrow formation talking amongst themselves.THE ARCTIC WEATHER CONDITIONS ALREADYCAUSING HAVOC ON BRITAINS ROADSaccording to the radio news bulletin, as I head

north on the M1 to a carrot farm in Yorkshire.Murky streaks of road salt have accumulatedon my windscreen; the windscreen washer jetsare broken on the rental car. There are queuesfor miles in the opposite lane heading south

as I stop for petrol, expensive burnt coffeeand tobacco, hot water, and toilet paper towash the windscreen.

Some time later I pull into a lay-by opposite asublime view point of Eggborough Power Stationand call the farmer, Guy, to ask for directions;

we arrange to meet once he has nished hislunch. In the sun drenched reception of thefarm I am greeted by gleeful caricatures ofdancing carrots on the walls. Guy and Jerrytake me through to a small conference roomto talk about the premise of my visit. I tell

them I want to photograph the carrots that,

due to their abnormal appearance, fail to bestocked in the supermarket chain that theysupply. He explains to me the pressures ofconsumer requirements on the farm, how

they are improving their efciency of productionwith many defective carrots being grated,sliced and packaged for sale in supermarkets.Any others are used as animal feed. I ask himfor any ofcial information that he can print orsend to me for further reference. However this

isnt possible due to the sensitive nature of thesedocuments, and any other queries I have he willanswer via email. I thank him for his time andassure him that I wont say anything badabout supermarkets.

Jerry fetches me a hairnet and high-visjacket, then gives me a tour of the farm andshows me the factory. There is a consistent,overpoweringly sweet smell of carrots in theair. He shows me the factory and the machinery

used to grade the carrots. Steel cylindersparallel to one another, at various distances,

allow the carrots to fall through at differentintervals determining their girth. Digitalcameras photograph the carrots as they arewinged along brightly lit conveyor belts; the

defective carrots detected by the cameras aresubsequently ejected with a whip of pressurisedair. In the corner of the factory there is a smallconveyor belt that ascends from ground levelto the rafters carrying the defective carrots. I

begin collecting these carrots into plastic bags.Initially I choose ones with blatant deformities,idiosyncrasies that appeal to me. Then I realisemany of them dont appear peculiar at all, soI start collecting them. Jerry begins to help

bagging the carrots, whilst shouting in my earthrough the din of the machinery, recitals of thedifferent names of rot and disease they have.

Ibecomeincreasinglyfondofeachcarrotregardlessofhowmoderateorextremeitsdefect.

Jerry helps me take the carrots to my car asthe daylight fades. I set off back to London.EXTREME ARCTIC WEATHER GRITSHORTAGES IN NOVEMBER! Drivers areadvised not to make any unnecessary journeys.Somewhere along the M1 I stop for something

to eat, a Large Big Mac Meal is alluring whenyoure feeling weary and far from anywhere.

Back in London I individually photograph each

carrot with the intention of replicating scale andcolour as accurately as possible. I measure theframe of the image in the viewnder, 12 long

to correspond with the print size. The followingday, due to the lack of space in my at and fridgefreezer, I take the carrots to Hackney City Farm

to full their destiny as pig feed.

A few weeks later I meet my mum for lunch at atapas restaurant in London Bridge. I show hera test print of a defective carrot. She shows thewaiter and asks for his opinion. As he pours the

wine for me to taste and check for corkage, helooks perplexed. He replies that he would neverbuy a carrot that looked like that.

One Hundred and Thirty Nine Defective

Carrots is a collection of 139 unique16x12 C types hand printed by Tim Smyth.Smyth currently lives and works in Londonwhere he is represented by Son Gallery.Engaging with environmental issuesand the documentary rhetoric, Smyths

work is distinctive for its considered

attention to detail, taking advantage oflarge format cameras. His grippingabstract visualisations are a productof industrial and consumer waste.

timsmyth85@gmail.com

www.timsmyth.co.ukwww.songallery.co.uk

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6 FEATURE One Hundred and Thirty Nine Defective Carrots

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VIGNETTE7 IN PROFILE Alec Jackson

Alec Jackson

alec@post-photography.co.ukpost-photography.co.uk

Standing at the front door I am greeted by

a man in a navy labcoat and latex gloves.Wearing such attire he need not introducehimself, I can safely assume its Alec Jackson,experimental photographer. He ushers methrough the house and out the back door, upthrough an overgrown garden to what I can only

describe as a concrete bunker. As he opens theblue door, I am immediately hit with the sweet,

almost vinegary smell of used chemicals. Hisdarkroom is piled high with developing traysof various sizes, measuring jugs resting uponshelves, test strips pinned haphazardly across

the walls, semi-dismantled enlargers, andbre optics scattered across the worktops.

He says, Its the small things in life that giveme the greatest pleasure my tiny darkroomis one of them, and although not perfect, it

has given me back the creative freedom whichI had once gone so long without.

Vignette: You call yourself a photographerbut you dont seem to use a camera; how do

you dene your work?

Alec Jackson:I guess people normallyconsider photography to be using a camera torecord the world, but there are so many otherpossibilities. Forget about cameras, lensesand f-stops, I want to break it down into its

basic components; light, time and surface.I look at the various ways in which youcan use these elements to create a newtype of photography, outside of the normalboundaries of a photograph. This has beenmuch more appealing since the advent

of digital photography, almost creating apost-photographic era. For those of us not

quite ready to venture solely into the digitalworld, it gives us more freedom to exploreand redene photography as a medium.

V:You mentioned the term post-photography what do you mean by this?

AJ:As I said, the traditional/historical viewof the photograph is that of documentation

and something which has been enslaved to itfor decades. However the elements involved

with developing an image dont just stop atdocumentation, chemical photography hasalways allowed for experimenation. With thecoming of age of the digital camera, it has

effectively freed up the constraints chemicalphotography once had. Hence the termpost-photography.

V:Howdidthisprojectstart? AJ: Ive been into photography for quite

some time but up until about 5 years ago Ididnt have a darkroom to work in. When webought a house with two concrete buildings atthe top of the garden, I can remember thinking

one of these is going to be my darkroom.

I was always more interested in the

experimentation side of things, anything beyondthe norm really. I had ideas originally thatwould involve the use of masks and dodgingand burning various colours on to photographicpaper. Then one Christmas, my wife bought ahideous bre optic Christmas tree-it was truly

awful! However I found myself drawn to it, notbecause it was attractive, but because I wasintrigued by these bre optics and how theycould be used. Needless to say, once Christmaswas over and done with, I dragged that hideoustree up to my darkroom and hacked all the

bre optics off-believe it or not the tree lookedbetter afterwards! I used them to manipulate thelight from the enlarger on to the photographicpaper; this particular set of bre optics becamethe rst in a wide range of light brushes Imade in order to see the effects it could have

on the photographic paper. However not allmy attempts were successful, I wouldnt liketo hazard a guess at how much photographicpaper Ive gone through in the process!

V:With such large amounts of paper beingbinned, werent you ever tempted to just scanthe images and manipulate them on photoshop?

AJ:Yes, massively, but it goes totally againstwhat Im trying to achieve. The whole point ofmy work is to experiment with light and to seehow I can play around with it. You know howit goes, you do a quick tweak here and a quicktweak there and before you know it theres

nothing left of the original piece. Also I seethe imperfections as part of the charm and thecharacter. The errors, if you wish to view it thatway, is just that human contact has occurredand can be evident in some of the work.

V:What photographers inspire you atthe moment?

AJ:I take my inspiration from a varietyof photographers such as Nadav Kanderwho creates the most beautiful portraits,the photograms of Curtis Moffat and strip

photography from Andrew Davidhazy.

But I also think its important to widen upyour focus of inspiration, many painters andlm makers heavily inuence my work. I guessI am inuenced by anyone who is challenging

preconceptions about the medium they work in.

V:How do you see your workdeveloping over the next few years?

AJ:Im always thinking of ways to develop

my range of light brushes to see what effect,if any, this will have on my work. In fact what

usually happens when Im looking to developwork is that Ill start off with an idea, then Illaccidentally do something, think hang on, Imight have something here and run with thatinstead. Im currently toying with the idea of

mixing documentation with my light paintings,building up various different layers and textures,which may perhaps engage and be accessible toa larger audience. However should somethingweird and wonderful happen, do not besurprised if I decide to go with that instead.

theres only 3 things you needto make a photograph andthats light, time and surface.

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VI

GNETTE

AlecJackson

post-photography

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10 RWA Open Photography 2

Founded over 150 years ago, The Royal Westof England Academy in Bristol has a fullprogramme of varied exhibitions. The RWAsstunning grade 2 listed building providesvast beautiful gallery spaces showcasing the

academys ne art collection, solo and multi-artist exhibitions including 2 open exhibitionsa year. One of these open exhibitions rotatesbetween the disciplines of sculpture, painting,photography and printmaking. The rst OpenPhotography exhibition in 2008 included over

400 photographs and was hugely popular withvisitors. Following the success of this show,the academy opened submissions for itseagerly awaited Open Photography 2exhibition in December 2010.

Over 1600 entries were received. The resultingexhibition of over 300 images opened on 19thFebruary 2011 and included work from invitedartists Barry Cawston, Richard Cox and SachiyoNishimura in addition to a massively variedbody of work from the general submission. In

common with all good open submission shows,

Open Photography 2 allowed photographers ofall levels of experience to exhibit their work inthe same space.

At the preview, as the crowds swelled up

the stairs into the bright elegant gallery, thegeneral consensus was that the exhibitionlooked fantastic. The exhibition highlightedthe diversity within photography as a medium.We asked Barry Cawston for his views on theshow, It was fantastic to exhibit 5 large scale

photographs at such a prestigious institutionand in such a high quality and eclecticexhibition. The resulting press coverage has

been superb and I have had a feature on myphotography in The Independent magazine.

Vignette met up with 8 of the artists who hadimages selected.

RWA Open Photography 2:19th February 5th April 2011

www.rwa.org.uk

Mark Blower

I took this shot in Knowle West,the whole estate was buzzing withEnglands World Cup hopes that wereabout to be shattered. This typiesthe passion of last years World Cup.

www.markblowerphotography.co.uk

Patrick CoughlanStreak is from a series of images Imade in the thick fog bound landscapeof East Anglia in December last year.The notion of a landscape as bothconstant and variable interests me.

www.patrickcoughlan.org

Jade French

I am really thrilled to be exhibitingat the RWA alongside so manygreat photographers. This imageis one of my favourites. I lovethe way it gives the illusion ofan impressionist painting.

www.jadefrench.com

Michael Reeves

It was quite a surprise to turn a cornerand nd this period advertisement.Juxtaposing it with a passing tramseemed an appropriate way ofrepresenting the ux of time inmodern-day Prague.

www.michaelreevesphotography.com

Jim JohnstonI was really pleased to get a couple ofprints into the RWA Open Photographyshow as I thought the standard thisyear was so high. To win best UrbanLandscape was unexpected and I amgrateful to everyone who voted for me.

www.jimjohnston.co.uk

Sarah Macfarlane

Friends and I spent a lovely eveningdining in this beautiful courtyardrestaurant whilst travelling throughSouth East Asia.

www.redkidz.co.nz/things

Paul Blakemore

Looking forward to seeing my picturesin a white wall gallery space as usuallythese prints are stored in a dusty oldBridewell police custody departmentin Bristol!

www.neatstudios.co.uk

Luke Archer

Light and dark is the basis ofphotography and the simplicity of thisis I feel is often over looked. Whatinterests me is how total darkness canstill create a sense of space.

www.lukearcherphotography.co.uk

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VIGNETTE11 RWA Open Photography 2

01

02_

01_

01_ The Tenement Block by Barry Cawston

02_ Great Western by Jim Johnston

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12 RWA Open Photography 2

03_ Streak by Patrick Coughlan

04_ Handrail by Paul Blakemore

05_ One night in Bangkok by Sarah Macfarlane

05_

03_

04_

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VIGNETTE13 RWA Open Photography 2

06_ An Englishmans Home by Mark Blower

07_ Tram and Pepsi-Cola by Michael Reeves

08_ Brandon Hill by Jade French

09_ Meg by Luke Archer

07_ 09_

08_

06_

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14 Portfolio Review

Portfolio Review

Lisa Furness is a freelance commercialand ne-art photographer. She alsoteaches photography to people of allages and is a prominent member ofthe Bristol arts scene, coordinatingEaston Arts Trail and chairing Bristolphotography collective Second Look.www.ickr.com/lisafurness

01_BrilliantlyreminiscentofCaravaggio,butIndthesubjectdifculttounderstand.

02_Iwouldsuggestcroppinginmoretightlytolosesomeoftheemptyspaceatthetopandtoemphasisetheface.

Itmaynotbeallowed,butIwouldhavelikedtoseethecigarettelitormaybeadifferentpropusedunlessyouaretryingtosuggestpotentialunfullled?

03_and04_areamazing,dontchangeanythingandlookupRobertFrank.

PortfolioReview.Fordetailsofhowyourphotographscouldbereviewedbyourpanelseepage2.

Tom Groves London based freelancephotographer Tom Groves works in thestudio of internationally recognised

photographer Martin Parr. Tompreviously worked at Magnum Photosand studied photography at FiltonCollege in Bristol. Groves helpedset up The Emporium communityarts space in Bristol and is currentlyshooting a project on EuropeanSubbuteo players. www.ickr.com/photos/tomgrovesphoto.

InitiallyIwasundertheimpressionthatthersttwophotoswereaseriesofimagestakenfromaplay,asthelightingisthoughtfulandspecic.Thesequencecouldperhapshavebeenmadestrongerifthepost-productionhadbeenbetter,forexample,the

imageoftheladandthepintglassisablackandwhiteimage,butanelementofgreenhassnuckinthere!!

Therstimageinthisserieshasawarmfamilyfeel.However,itcouldbeimprovedbypayingcloserattentiontothepost-productioninPhotoshop;ontheright-handsideoftheimagethehandhasbeenlightenedpoorly,andmakestheimagealotlessappealing.Acertaindegreeofcontextualisationcouldalsohelptostrengthentheimage.

Iliketheportrait02_asitisstrikingandthephotographershowscreativitywiththelightingangle.Ialsolovethe

angleatwhichthecigaretteisbeingheldasitlooksasifitsanextrangerorevenagunbarrel!Greatercontrolovertheintensityofthelightsoasnottoblowoutthehighlightswouldgivetheimageincreaseddenition.

InthethirdpictureIliketheveininthemanstempleaswellastheoutlineofthepintglasswhichstandsoutwellagainstthebackground.Itgivesanauraofsorroworthoughtfulnesswhichcanbehardtomanufacturesogivestheimpressionthatthephotographermayhaveacloserelationshiptothesubject.

Thenalimageisnicelybalanced

andincludesaslightlyamusingbleaknesswiththemessageetchedintothecondensation,mixingwellwiththecoloursandthefeelofwintercreepingin.Theslighthintofthesoftredhairagainstthebluey,greenfeelispleasinganditiswellcomposed.Therearesomestreaksintheshadowswhichagainlooktobetheresultofsomequestionablepost-production.Attentiontodetailinthisareawouldmaximisethepotentialimpactoftheimagesasthetiniestdetailscanoftenbethemostimportant.

NathanielWhiteis18andlivesinBristol.Heisapplyingtostudyphotographyatuniversityin2012.

04_

01_

03_02_

Martin Edwards has ngers in anumber of photographic pies: heis a lecturer in photography atCity of Bristol College, a freelancephotographer, regular exhibitorand is involved in community artsand photography projects

www.martinedwardsphotography.co.uk.

Abeautifulsetofpictures,fullofatmosphereanddisplayingagoodunderstandingoflightingandmood.Themonochromaticthemeofthephotographshasimpact.

Thetwousingnaturallightthewindow04_andbar03_-areatmosphericandsuggestaslightlymelancholynarrative,withagoodsenseofpersonalengagementandstyle.

Thestudioportraitoftheyoungwomanwithacigarette02_iswelllit,

withcleareyesandgoodexposure.Cigaretteshouldbeintheprocessofbeinglit,perhaps,tomakecompositionlessstatic.

Inthenalimage01_,threewomenappeartobeactingoutascene,withsomethingbeingpassedtoahand.Idontndthisonesosatisfactory,asitleavesunresolvedquestionsabouttheimage,somehowincomplete.

Overall,agood,stylishsetwithplentyofpromise.

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VIGNETTE15 Festivals/Open Submissions

Open Submissions

Taylor Wessing Photographic Portrait PrizeSubmissions open Aprilwww.npg.org.uk/photoprizeTheworld-famousTaylorWessingPhotographicPortraitPrizeopensforSubmissioninApril.Showcasingtheverybestincontemporaryportraitphotographywithattractiveprizestomatch.

British Wildlife Photography AwardsClosing date: 2 June 2011www.bwpawards.org

Open Here: Hereford Photography FestivalClosing date: 31 May 2011www.photofest.org/openhere

The Focus Project 2011Closing date: 16 February 2012www.focusproject2011.com

Travel Photographer of the YearSubmissions open May 4www.tpoty.com

Landscape Photographer of the YearClosing date: July 2011www.take-a-view.co.uk

FestivalsBelfast, UK

Belfast Photo FestivalAugust 4 - 14www.visionexposed.com

Birmingham, UK

Rhubarb International Festival of the Image2011 dates TBAwww.rhubarb-rhubarb.net

Channel Islands, UK

Guernsey Photography FestivalJune 1 30www.guernseyphotographyfestival.com

Dublin, Ireland

PhotoIreland FestivalJuly 1 31www.photoireland.org

Hereford, UK

Hereford Photography FestivalOctober 28 November 26www.photofest.org

Liverpool, UK

Look: Liverpool International Photography FestivalMay 13 June 26www.look2011.co.uk

London, UK

World Photography Festival and Sony WorldPhotography AwardsApril 26 May 1

www.worldphoto.org/festivals-events/wpo-events/london

Krakow, Poland

Krakow Photo MonthMay 13 June 12www.photomonth.com/index.php/en

New York, USA

New York Photo FestivalMay 11 15www.newyorkphotofestival.com

Paris, France

Paris PhotoNovember 9 - 13

www.parisphoto.fr

BradfordThe Lives of Great

Photographers

TheNationalMediaMuseamwww.nationalmediamuseum.org.ukApr14-Sep4 _Free

BristolWildlife Photographer of the

Year

BristolMuseum&ArtGallerywww.bristol.gov.ukFeb19-Jun5_Free

Magical Consciousness

Arnolniwww.arnolni.org.ukMay12-Jul3_Free

CardiffAnarcadia : Ruth Maclennan

Ffotogallerywww.ffotogallery.orgApr21-Jun4_Free

Patagonia : Ken Grifths

Ffotogallerywww.ffotogallery.orgJun11-Jul9_Free

Mi Vida Loca by Joseph

Rodriguez

TheThirdFloorGallerywww.thirdoorgallery.comMar26-May1 _Free

GlasgowChina through the lens of John

Thomson 1868 - 1872

TheBurrellCollectionwww.glasgowlife.org.ukFeb4-June12_ Free

Italy/MilanPaolo Pellegrin: Dies Irae

FoundationFormaforPhotographywww.formafoto.itJan18-May20

LiverpoolAirports for the lights,

shadows & particles

TheBluecoatwww.thebluecoat.org.ukFeb25-May1 _Free

LondonWorld Photography Exhibition

SomersetHousewww.somersethouse.org.ukApr26-May22 _10/7/Kidsfree

Waterline: Cruising

Photography 1925-1970

NationalMaritimeMuseum

www.nmm.ac.ukUntilApr24_ Free

London Photograph Fair

HolidayInnBloomsburywww.photofair.co.ukSunMay15 _Entry3

Hopp Portraits:

Society, Studio & Street

NationalPortraitGallerywww.npg.org.ukFeb17-May30 _11/10/9

Deutsche Brse Photography

Prize 2011

AmbikaP3attheUniversityofWestminsterwww.photonet.org.ukApr6-May1_Free

Russia/MoscowFellini. Grand-parade

MultimediaArtMuseamwww.mdf.ru/englishFeb23-May10

USA/San FranciscoPicturing Modernity

MuseamofModernArtwww.sfmoma.orgFeb26-Jun7

JPG Magazine

Anonlineandphysicalmagazine,madeforandbyphotographers.www.jpgmag.com

DIY Photography

Inspiringtips,tricks,techniques,camerahacks&projectsforyoutoDoIt

Yourself!www.diyphotography.net

Loretta Lux

Elongatedlimbs,oversizedheads,coolgazesandisolatedlocationsfeatureprominentlyinLuxsspookyportraits.www.lorettalux.de

Photojojo

IntheirwordsThebestphototips,DIYprojects,andgearinthewholewideworld.www.photojojo.com

Julie Blackmon

Beautifullysurrealdepictionsoffamilylifewithanenchantingtwist.www.julieblackmon.com

Vivian Maier

PosthumouslydiscoveredarchiveofamazingChicagostreetphotographyfromthe

1950stothe1990s.www.vivianmaier.blogspot.com

Wee Planets

FrenchphotographerAlexandreDuret-Lutzturnspanoramiclandscapesintotinyworlds.www.ickr.com/photos/gadl

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Theonlinecommunitydedicatedtolmphotographywww.chooselm.com

Exhibitions Online

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www.ffotogallery.org / info@ffotogallery.org

Ffotogallery is the national development agencyfor photography and lens-based media in Wales.

EXHIBITIONS / EVENTS / PUBLICATIONS / COURSES

Gallery at Turner House, Penarth (nr Cardiff)

NTLERSVT H E N O M A D I C G A L L E R Y

www.antlersgallery.com

facebook.com/antlersgallery

LIVE

DANCEBOOKSHOP

EXHIBITIONS

EVENTS

CAF BAR

CULTURE

MUSIC

ARNOLFINI

FILM

ART

HARBOURSIDE

INSPIRE16 NARROW QUAY, BRISTOL BS1 4QA

WWW.ARNOLFINI.ORG.UK

Arnolfini Centre for Contemporary ArtsAdmission to the galleries is free

Galleries open:TueSun & Bank Holiday Mon 11am6pm

Bookshop open:TueSun & Bank Holiday Mon from 11am

Caf Bar open daily:From 10am

Barry Cawston: Junkyard Kyushu

OPEN PHOTOGRAPHY 2

Exhibition openMonday to Saturday 10am-5.30pm

Sunday 2-5pm (last entry 30 mins before close)

Admission 4, concessions 2.50,

under 16s free

Saturday 12 March free entry

www.rwa.org.uk / 0117 973 5129

20 February 5 April 2011Exhibitions, workshops and events

Royal West of England Academy, Bristol

@RWABristol

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