+MODERN

My project mixes fashion from several eras combines them with rich, primary coloured, urban locations, bright sunlight to accentuate sharp angles, and deep blue sky. The fashion styling has been particularly influenced by the block pastel colours of 1960s, combined with the clean lined of 90's sport-luxe fashion while referencing designers such as Mary Quant. This series was shot 'off season' in the seaside town of Blackpool.

Accessibility. Emily’s most recent project explores the true accessibility of the land throughout Britain and depicts the subliminal boundary between the rural landscape and urbanised settlements. She has photographed numerous locations categorised as ‘remote’; mainly focusing on the Scottish Highlands, and questions whether our naive perceptions of natures inaccessibility are in fact true representations of reality.

This series “This is not a nude” is an exploration of the female form and the politics that surround the nude photograph. I photographed a range of female subjects and my interest lay in folding the photographic paper to change the appearance of the body to create complex shapes that both conceals and reveals the fragility of the female subject while hinting at the way society and the media place a ‘mold’ on the idea of femininity.

In Laura Johnson’s latest series ‘Displaced’, she focuses on integrating fashion with the cultural, and architectural concept of the past connecting to present. A specific colour theme, which runs throughout, gives a surreal, and exaggerated impression as inspired by one of Laura’s inspiration’s, Steven Klein. The work has undertones of the current decline of the British seaside, exploring the notion of displacement, and experimenting with the idea of combing two alternative eras into one.

Same difference. Everyone is so different, yet when it comes down to it we are actually all the same. We’re all human. My project captures the portraits of a variety of different children. However, some of the children are disabled and some of the children aren’t disabled, but does that even matter? All of the children’s portraits are displayed together and there really is no difference between one child to the next.

My project explores girl culture within adolescents. My project features a series of constructed location portraits shot on film. I have cross-processed the film to draw out the beautiful analogue materials, and to give the portraits a distinct colour palette. I have located the portraits in Blackburn, in an urban, working class north of England ambiance. The styling of the images has been influenced by various movies such as Fish Tank and mini series This Is England.

‘Global Gaming’ is a documentary depiction of people who involve themselves in an industry surpassing the revenue of Hollywood and one that ultimately changes lives: video gaming. This project aims to open the closed metaphorical bedroom doors and explain gaming life to those who are unfamiliar with the topic The mass of worldwide clips all unified within this film shows that video games are not simply stereotypical teenage boys swearing at their Xbox. Games can be very emotionally testing, peo

I’ve seen that face before. As I started to understand what a person with depression/bi-polar might go through and how they might feel throughout the day I decided to take those feelings and thoughts and put down the feelings onto paper the best way I could. I started looking at fashion magazines and with “Vulnerability” “Escape” “Anger” “Sadness” “Loneliness” “Happiness” etc in my head, those are the types of images I was looking for.

Lynsey Smith has always been influenced by nature and the environment with a keen drive towards crafts. Combining these to inspiration Smith has turned her photographs into origami creators of the animal subjects. The photographs above are part of a body of worked called The Unseen the inspiration for this project started with the photographs of Henry Horenstein’s Animalia. Concentrating on the divers range of unique body features that each spices of animal possess.

Wyre. During the three years I lived beside the River Wyre I became fascinated by the communities situated along its banks. The river itself has always been a point of interest to me, but using the water as a pathway through the Lancashire landscape has a much greater poignancy. The way the river creates its own path lays homage to the wandering aspect of my photography and the journey it took me on.

C6H6, The photographic project is based on the frustration that artist Joe Jackson encounters on the topic of hydraulic fracturing in his home county Lancashire and surrounding areas. Jackson uses the landscapes to show the beauty of rural Lancashire and the Fylde, and it images give the viewer a sense of use for the lands involving articles of human interaction within the landscapes.

53.9230° N, 3.0150° W This series examines both the temporal and perennial states of human activity, on one of the North West’s foremost fishing towns, encompassing industrial decline and social impact. Exploring the relationship between landscape, identity and broader social issues, it concerns the meaning and significance of place for the inhabitants and users. The project involves a process of walking and investigation and is a factor in the creation of the work.

Person Behind the People - Chapter II The Japanese say that you have three faces: The first face - you show to the world The second face - you show your close friends & your family The third face - you never show anyone

AGE IS BUT A NUMBER is a project created to pursue its ideology. Getting older is something we all have in common and living in a self obsessed society getting older is appeared to be frowned upon. In a series of imagery the aspects of age is explored in women only, simply because its easier to connect with the topic. The fashion/ portrait shots are devised in a way to show no matter how old you are, you are beautiful.

Non-Places/Passing By These non-places that I’ve photographed have no identity or history and soul purpose. They vary from places that have no use and that are constantly over-crowded or deserted. Yet we don’t form any connection with them. There’s always that feeling of alienation. We interact with hundreds or thousands of people between non-places, awkward smiles, weird looks and blank expressions but we always remain strangers among strangers.

Sara Oakley has a passion for capturing the truth in each and every image that se creates. She is also strongly against any kind of animal cruelty, whether this be for the benefit of art or otherwise. She is greatly concerned and focuses upon the wellbeing and protection of animals and animal welfare throughout the United Kingdom and also across the world. This photography series highlights and brings attention to the stereotypical behaviours in captive animals.