THE POWER OF LOVE | Passion projects that inspire creativity | FujiLove Feature | London photographic artist

Whether your interest piqued by the intricate detail of flowers or the vastness of empty skies; the complexities of the human condition or interesting faces; the humour and ridiculousness of life or documenting its darker side, there’s a personal passion project to inspire and spark a creative wandering.

As a London photographic artist and family and business photographer, it’s important to keep the creativity flowing.

For me it all started with doors …

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Coast to Coast – February: Memories of the sea, Part Two | London family photographer

Lockdown has forced me to think about me perspective on the sea in a more introspective manner than I’d intended when I started this project, but it has thrown up some interesting concepts and musings.

Last month I pondered on the water cycle using the snowfall as a means to contemplate water molecules trapped in snow, as a metaphor for how we found ourselves in lockdown – misplaced, adrift even.

For February’s perspective I’ve thought more about how our memories of the sea are closely associated with our relationship to it. And I’ve looked for clues within the city that remind us of the coast.

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Authorship & Collaboration: A Response to The Nation’s Ode to the Coast | Positions & Practice

Exploring authorship and collaboration opens a whole can of worms in many respects but has also broadened my understanding of collaboration.

While I find it troublesome that works involving ‘found’ photos such as that of Schmid seem to sidestep questions of consent – both of the original photographer but also the subject – context does also play a part. Pieces made for the art gallery naturally have a more limited audience than those, for example, appropriated, amended, edited, re-purposed or simply recirculated without consent – but does that actually change the moral principle at stake?

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Reading Photographs | Positions & Practice

“Every time we look at a photograph, we are aware, however slightly, of the photographer selecting that sight from an infinity of other possible sights. This is true even in the most casual family snapshot. The Photographer’s way of seeing is reflected in his choice of subject …

“…although every image embodies a way of seeing, our perception or appreciation of the image depends also upon our way of seeing…

” …when an image is presented as a work of art, the way people look at it is affected by a whole series of learnt assumptions about art.” (BERGER, 1972: 10-11).

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Identity and transitions: methods and meanings | Positions & Practice

I’ve been reflecting on the themes, methods and methodologies that run through my non-client work of late. Much of my work has focused on identities and I realise transitions.

My Motherhood and Identity: Tattooed Mamas Breaking the Taboos was very clearly aligned with these themes exploring the transition from an individual identity to one as a ‘mother’ and how this skewed the way society perceived individuals in ways that were unexpected to new mothers.

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Coast to Coast: Memories of the Sea |London documentary business and family photographer & film maker

When our Coast to Coast collective of photographers and artists around the world launched this project on 31st December 2020, we each felt bright horizons were ahead after a tumultuous year. Within days, here in the UK at least, we were flung back into full lockdown, the schools were again closed, my work as a family and business photographer in London is yet again on hold, and our excursions outside limited to once a day for exercise or essential shopping.

There hasn’t been much time for anything but attempting to plough through home schooling and getting acquainted with fronted adverbials and the like – something which, with a background of 20 years in copywriting, editing and proofreading, I’ve never heard of! – and trips to the coast for me are prohibited.

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On windows and mirrors: Photography – a window on the world or a reflection of the soul? | Positions & Practice

The mirror/window analogy in photography is an interesting perspective – are we documenting the world around us and providing the viewer with a window on that world, much like the popular early stereographs of geographic landmarks, depicting aspects of the world the viewer doesn’t have immediate direct access to, or providing an insight into our inner world, projecting our own subjective interpretation or attempting to reveal our inner world to an outside audience? Is our audience ‘out there’ or ourselves.

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Coast to Coast: the song of the sea | London photographer & filmmaker

I’ve been drawn to the sea for as long as I can remember really (yes all v Moana and my hair isn’t as good!). I live in London now but I grew up just a couple of miles from the sea and we visited often as a family just as weekend jaunt to eat sandwiches or go plodging (it’s northern thing). My favourite place in the world before I explored further afield was St Mary’s Lighthouse near Whitley Bay, just down the road from my little suburbia. Summer holidays were spent gathering with all my cousins and extended family at High or Low Newton where my mam and her sisters had all spent their childhood holidays and being forced into the north sea with nowt but a bikini on (wetsuits were for wimps or professional surfers in the 70s & 80s!). 

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