Jill moved into photography as a second career after working for twelve years as an agricultural economist. In 2004, with two young children at home, joined Cleveland College of Art and Design, to study for a degree course and graduated in 2008.

 

Wanting to find a way of producing work without travel or huge cost, Jill produced Guns in 2007. It was a way of commenting on larger issues in a local way. In this case, about how guns are present in our everyday lives.

 

Leading from that, Jill went on to photograph army recruits, noticing how young they were. This work won her the Fujifilm Student Awards in 2007. This was a great boost and as this was significant, Jill decided to revisit one of the recruits a year later. He had since left the army and Jill made a short documentary of him.

 

Living in North Yorkshire, surrounded by moorland owned by military, the nearby Catterick Garrison is an ever present part of Jill's life. At this time there was much in the news about lack of equipment for soldiers and embedded photographers. Taking a slightly oblique look at war photography, Jill produced a small series called Firing Range. 

 

Within the overall title of Training Land, Jill produced a third chapter of work, Birds. Within the army garrison is a nature reserve where a bird ringing programme takes place. Jill created a series of eighteen images hoping they would encapsulate what she was trying to say about the army and people caught up in war. Much of Jill's work is referenced to conflict and also explores beauty and renewal.

 

Jill also completes commissions for local design agencies and does research work with Majority World, who work with indigenous photographers.

The crit session was interesting and went well. Both the first and second year photography students attended. Each had been asked to print at least one A3 image from their finished work this term. Some didn't do this and printed in other sizes and on a variety of papers. Although some of the presentation may have been lacking, the work was interesting and it proved useful to talk about it.

I had printed three of my images from the Millennium Images assignment at A3 along with other prints, including outtakes at A4 This was primarily so people could see the series and see what I was trying to achieve. I was felt much more confident than on previous occasions talking about my work and was pleased with the feedback.

Last year crit sessions simply didn't happen. Which was a shame. Including this one, we've had two this year. Logistically they're probably difficult to arrange. Especially with the first and second years present, that's probably about forty students. Difficult to view and talk about people's work in depth without it dragging on a bit. I hope the college continues with the larger crit sessions, but also introduces smaller more regular ones too. It's good to bounce ideas off one another and see what others are doing and to keep informed.

Later the same day we had a lecture by Steve Schofield, who began as a photographer taking photos for the likes of Metal Hammer and Kerrang! Steve had started photography quite young, but later went on to study photography at Derby University. He spoke about and showed the work of photographers that had influenced him or that he admired. He noted that one thing he really missed about studying was the university library. A great resource that he no longer had access too.

Steve Schofield then went on to show some of his own work, including Land of the Free, Hotel and Dancers. Along with this he gave anecdotes about how the photographs had come about and some technical details too. Steve continues to photograph within the music industry too, taking portraits and making images for album covers.

Steve Schofield's talk was entertaining, mostly due to his good humoured approach. But it was also informative. I couldn't think of a better way to learn about photography.

Recently, I went along to the Quad in Derby to see Brian Griffin and Anne Braybon give a talk. Brian Griffin is taking part in the Road to 2012. These are portraits of people involved with the London 2012 Olympics in conjunction with the National Portrait Gallery. Anne Braybon is the Commisions Curator at the National Portrait Gallery.

Anne Braybon began the talk, by explaining about the funding, how the portraits were to be organised and pretty much all the logistical concerns of the project. Brian Griffin then went on to show some of the portraits he'd already taken. It was really interesting as he showed different variations of shots and we got to see the work in progress. I found looking at the images fascinating, but specifically a portrait of Seb Coe stood out. As I understand it this portrait isn't going to be used, so it was a rare treat.

It was a very interesting talk and opportunity to see Brian Griffin's work and hear about the organisation this type of project requires. And it was amusing to hear how people on the David Icke forum felt the portraits were part of a wider conspiracy. After the talk, there was a networking opportunity, to chat with Brian Griffin, Anne Braybon and others attending. Sadly though I had to leave at this point. I'm told that the Quad will have more talks from photographers in the New Year, something to look forward to.

Last week, I went with a small coach load of other students in my year to the National Media Museum in Bradford.

It really is a great museum, dedicated to photography and other forms of media. Best of all is the museum's Collection and Research Centre, called Insight. Anybody can book time to research through the archives and there are guided tours, which is what we had.

Firstly we were shown a room full of filing cabinets and metal boxes, each organised by subject matter, from which we were given a brief photographic history of the Daily Herald (pdf) newspaper, which has now become the present day Sun newspaper. From there we were shown large archives of different cameras, everything from William Fox Talbot's "Mousetrap" to the original Olympus Pen to disposable Spice Girl cameras. There were also large rooms full of gizmos, gadgets and other equipment dedicated to photography, cinematography and new media.

From there we were shown to another, cooler room. In here was another photograph archive. There were daguerreotype photographs, with their fantastic mirror polished surfaces and an early negative with prints made by William Fox Talbot using his calotype process. We were given a brief run through of this part of photographic history. It really was fascinating seeing these early photographs. We then went into a small gallery type room where large prints were on display including some by Simon Norfolk and Joel Meyerowitz. And there were also maquettes of photography books, one of which was Martin Parr's Cost of Living. All utterly fascinating.

After a lunch break and a cup of tea, we had a lecture from photographer, Simon Roberts. I was aware of Simon Roberts monographs, Motherland and more recently We English, which he spoke about in detail. Simon outlined his photographic career and discussed other aspects of photography, beginning by asking us to think about why we wanted to be photographers? What do we want to say with photography? He said that the most important thing he had learnt was ownership, keeping the copyright to his images.He also asked, whether we should be deleting our photos in this digital age? Simon didn't think so, we should keep everything. You never know when those photos may become of some use.

Simon outlined his previous work, including some engaging editorial photography. Simon said it was always important in these cases to know the subject, take quotes, have a background and produce text to go with the photos.

The Simon Roberts talk was a stream of consciousness that made absolute sense. He is obviously an intelligent and driven man. Which is why he has been able to produce the work he has achieved and talk about it so compellingly.

After this we walked a short distance to the Impressions Gallery to see Subterrania by Fiona Crisp. These were images of underground worlds, large scale and hung at a certain height, it almost felt like you could walk into the picture, but not quite. The exhibition can be seen at the Impressions Gallery until 24th January 2010.

To round off the day I also picked up a copy of Photoworks magazine and Source Photographic Review. The latter having a write up about Fiona Crisp's Subterrania exhibition. It really was a fantastic day, from viewing the beginnings of modern photography, seeing the daguerreotypes and calotypes, all the way up to Simon Roberts We English. I certainly recommend anybody with an interest in photography go to the National Media Museum. There certainly was a lot to absorb and process on the coach home. 

Mark Neville spoke about three of his works, starting with The Jump Films (1996-2006). Then comprehensively speaking about The Port Glasgow Book Project (2004-2006). And finally, showing us images from his Fancy Pictures work. I recommend listening to an audio interview with Mark Neville about The Port Glasgow Book Project on the Hotshoe blog. There is also an interview, focusing on Fancy Pictures, with Mark Neville in the Autumn 2009 issue of Source Photographic Review.

Some of the Port Glasgow Book Project can be seen, along with the work of other photographers, at ParrWorld at the Baltic until 17th January 2010.

This is Peter Durant's twentieth year as an architectural photographer. He studied Photography at Derby University for three years, graduating in 1988. He was always interested in the built environment, how we mark the landscape and wanted to see things photographed so that one could get involved with what's inside the frame. Peter aims for his photos to impart a feeling of what an environment is like. As he says, he is, "Putting a rectangle around a space to create an inviting relationship."

Peter Durant is obviously passionate about his job and extremely focused. In fact he tells us, "It's the best job." He also tells us that he is given free reign with his work, rarely having to deal with intermediaries such as ad agencies, graphic designers, and so on. He admits that he has done a few art directed shoots, but hasn't really got on with that way of working, preferring to work his own.

He also informs the lecture theatre that deadlines are not so much an issue unless he's working for magazines. Photo shoots only go ahead when the weather and light are right, making between twelve to fifteen images a day.

If you're interested in an area of photography, assisting is a priority, he says. Peter learnt how to use filters and some tricks of the trade through assisting Dennis Gilbert. Peter informs us that good assistants are one step ahead. And they don't talk. He also believes that the same methodology should be applied when showing portfolios; show your work, listen, less talk.

Apart from having his website and meeting people Peter doesn't really market himself. He doesn't think he does too well at it, but appears to be successful regardless. Peter does say that making a real living out photography is the hardest thing. Completing admin, filling out tax returns and the like are a drudgery, but the image taking always gratifies. "There is a level of pleasure I get from a finished shot which is enough for me."

Peter goes on to tell us that photographers have to always be visually in the here and now, constantly refreshing, framing pictures as you walk around, being in a space and looking, like a predator hunting for details. "Work to the best of your abilities," He tells us, "And do the best professional job you can. It will do won't do. Otherwise you'll slip down your own values. Some projects may not be so exciting, but you should bring the same sensibilities to it as the work you do find exciting."

As photography students, this is a time to indulge, Peter encourages. We should be feeding off images, being visually aware, the frame is key. "Get it wrong then you've got something to work from. If you don't do anything, you have nothing."

Coming from Jamaica during the Windrush Years, Burke's parents settled in England to help rebuild the country following the Second World War. Vanley had stayed behind and liked the exciting Christmas presents his parents sent to Jamaica. One of these presents was a camera and when Vanley came over to England in 1965, he was in an ideal position to document what was going on around him.

Vanley consciously documented the black community that he was apart of, "capturing life as it is." Vanley spoke about his photos and his more recent artwork, which I hadn't seen before. It was fascinating to see pictures of local recent history and to hear of his experiences and his views. "If everyone went and took a photo of something, they would all be from different perspectives, but all true."

Vanley exuded a humorous enthusiasm for his work and in encouraging us to go out and take photos. He advised us, "Photography is about recording light, the camera doesn't see the person, just the light that is reflected. If you understand light you're halfway to understanding photography."

Vanley Burke's work can be seen at Digital Handsworth.