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We're a creative jobs board bringing the best opportunities to top talent. Find the next step in your creative career.

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Paid opportunities for creatives 🦖

IG: https://www.instagram.com/runthecheck/

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Paid creative opportunities. Neither exposure or experience pay bills.

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See jobs at the Arts Council and in the arts and culture sector

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Professional networking for the new world of work. Land your dream freelance, remote or full time job. Get hired by thousands of world-leading companies.

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What's the difference between a design director and a creative director? Discover the skills and responsibilities for a variety of roles across the creative industries.

Creative Lives in Progress is an inclusive creative careers resource, on a mission to transform the way emerging talent access, understand and connect with the industry.

Sign up to the Creative Lives in Progress weekly newsletter including the latest articles and news about events

Creative Lives in Progress is made possible with the support of our partners. You can find a full list of our supporters here

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Creative Lives in Progress is an inclusive creative careers resource, on a mission to transform the way emerging talent access, understand and connect with the industry.

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The Photographers' Gallery Develop program for under 24-year-olds

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The Photographers' Gallery Develop program for under 24-year-olds

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Develop: Supporting and commissioning emerging creatives

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A photography-based creative support and commissioning programme for 18-24 year olds

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Creative Lives in Progress is an inclusive creative careers resource, on a mission to transform the way emerging talent access, understand and connect with the industry.

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What can I do with a photography degree?

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What can I do with a photography degree?

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Studying photography enhances your creative, social and cultural understanding, while developing your specialist technical knowledge around equipment, techniques and style

Job options

Jobs directly related to your degree include:

Jobs where your degree would be useful include:

Remember that many employers accept applications from graduates with any degree subject, so don't restrict your thinking to the jobs listed here.

Take a few minutes to answer the Job Match quiz and find out what careers would suit you

Work experience

You'll need a portfolio of your work to demonstrate your ability and style. You can develop this through work experience or volunteering, as well as getting involved in university projects, local competitions and final year degree shows.

Degree courses may provide opportunities for you to get work experience through placements and to undertake live briefs. Use these experiences to build up a network of contacts that can be helpful for finding work. Attending industry talks can also provide access to contacts.

You may be able to find relevant opportunities in image archiving, print services, framing services and photo developing centres within pharmacies, supermarkets and department stores.

Interpersonal skills are critical for photography careers, so any experience which promotes customer service skills will be useful, as is experience at events, particularly social ones, where you can observe structure and organisation and practise your photography skills.

There are many online courses and tutorials available which could help you to develop skills in photo editing and image processing.

Search for placements and find out more about work experience and internships.

Typical employers

Relevant employers can depend on your specialist area, which may cover:

Employers include:

media organisations such as newspapers, magazines, film and television

publishing companies

wedding photographers or high street photography companies

advertising agencies

design companies

large organisations such as universities, hospitals or airports

cruise liners, holiday and leisure companies and theme parks

the police - for 'scene of the crime' photography

A large number of photographers are self-employed and work in a freelance capacity.

It's also possible to use your creative skills in related areas such as marketing and digital marketing, advertising, web design, graphic design, publishing and curating, where opportunities exist with a range of businesses and consultancies. Teaching is another option for photography graduates.

Find information on employers in creative arts and design, marketing, advertising and PR, media and internet and other job sectors.

Skills for your CV

Studying photography provides you with expertise in sophisticated photography techniques, such as composition, manipulation, editing, processing, colouring and visual effects, as well as practical skills in relevant technologies.

You learn how to curate and exhibit your photography and develop the marketing skills needed to sell and promote it. You also learn about the key legal, ethical and cultural issues around taking, editing and selling photographic images.

The course also allows you to gain confidence in relationship building between image maker, subject and client.

In addition, you acquire a range of skills that are highly valued by employers. These include:

critical, analytical and practical problem solving

risk taking and making use of failure

rigorous self-evaluation and critical reflection

organising, planning and time management

working independently and in collaboration

presentation

project management

literacy and communication through technical descriptions, reports, essays and a dissertation.

Further study

There are a range of photography-related postgraduate courses available both in the UK and internationally. These courses may help develop the skills you need for self-employment, or improve employability in what is a very competitive field.

Some courses focus learning into a specific area of photography, such as clinical photography or photojournalism, while others offer a more in-depth look at photography generally.

Other areas of postgraduate research, study and training commonly taken up by photography graduates include advertising, design, film, editing, journalism, teaching and creative enterprise.

For more information on further study and to find a course that interests you, see Masters degrees and search for postgraduate courses in photography.

What do photography graduates do?

Over a third of graduates working in the UK six months after graduation are working as photographers or audio-visual and broadcasting equipment operators.

Find out what other graduates are doing six months after finishing their degrees in What Do Graduates Do?

Graduate destinations data from the Higher Education Statistics Agency.

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What can I do with a photography degree? | Prospects.ac.uk

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Studying photography enhances your creative, social and cultural understanding, while developing your specialist technical knowledge around equipment, techniques and style Jobs directly related to your degree include: Jobs where your degree would be useful include: Remember that many employers accept applications from graduates with any degree subject, so don't restrict your thinking to the jobs listed here.

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Shifting culture with award-winning creativity

Pocc is an organisation of transformation, championing change through creativity, activism and non-traditional means.

Born from the knowledge of what strength lies in the collective, we exist to make a difference to the lives of individuals, communities, and the world at large.

Community

Join the community of creative professionals accessing exclusive members benefits, events and creative opportunities.

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Pocc is an organisation of transformation, championing change through creativity, activism and non-traditional means.

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We facilitate change in creative organisations.

Our mentoring programmes train staff in creative companies to be inclusive mentors and leaders. We match these mentors with a young person from our community to support on the next steps of their creative journey.

This gives employers and employees the chance to support access into the industry today, whilst learning how to lead and manage in an inclusive way.

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At Creative Mentor Network we are working for a future where there there is no class ceiling in the UK creative industries. Our mentoring programmes supports 16-25 year olds from lower socioeconomic backgrounds and engages creative organisations to create a more accessible industry through training

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https://shutterhub.org.uk/

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QUEER|ART is a non-profit arts organization serving a diverse and vibrant community of LGBTQ+ artists across generations and disciplines.

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Queer|Art is a non-profit arts organization serving a diverse and vibrant community of LGBTQ+ artists across generations and disciplines.

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THE UK'S FIRST AND ONLY LGBTQ+ MUSEUM

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QUEER BRITAIN MUSEUM LTD IS A CHARITABLE COMPANY LIMITED BY GUARANTEE

COMPANY NUMBER 11253032 / CHARITY NUMBER 1180240
REGISTERED OFFICE 2 GRANARY SQUARE, KING'S CROSS, LONDON N1C 4BH

QUEER BRITAIN® IS A REGISTERED TRADEMARK / © 2024

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Queer Britain: the national LGBTQ+ museum

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Back in January, we opened submissions for the second edition of the BFI Flare LGBT Filmmakers' Mentorship, delivered in 2016 with BAFTA and supported by Creative Skillset. After a very successful pilot last year, where mentor relationships flourished and our filmmakers developed their careers further, the programme will again provide the selected emerging LGBT filmmakers the opportunity to be mentored by a senior figure from the film industry, to develop industry knowledge, professional connections, their passion for cinema and an overview of LGBT features entering the marketplace.

We were overwhelmed by the number of qualified applicants and by the quality of the applications we received, which demonstrated, for a second year in a row, the diversity and great talent of LGBT identified filmmakers in the UK. It was a true challenge to narrow this field - as we wanted to work with so many more of the talents who applied - but we are very pleased to announce that this year we've selected six extremely gifted filmmakers.

This year's mentees - one producer, one writer, one documentary director-producer, and three writer-directors - represent a diverse group with cinematic interests across a wide spectrum.

Our excitement is enhanced by a great mentor group, which includes Iain Canning (Oscar-winning producer, The King's Speech, 2010), Abi Morgan (BAFTA and Emmy-winning writer, Suffragette, 2015, The Iron Lady, 2011), Ben Roberts (Director, BFI Lottery Film Fund, who has supported films such as Pride, 2014, Under the Skin, 2013, High Rise, 2015, and The Duke of Burgundy, 2014), Desiree Akhavan (director, Appropriate Behaviour, 2014), Andrew Macdonald (BAFTA-winning producer, Ex Machina, 2015, 28 Days Later, 2002, Trainspotting, 1996) and Beadie Finzi (Foundation Director of BRITDOCS, documentary producer of Unknown White Male, 2005, and The Possibilities Are Endless, 2014, and director of Only When I Dance), who will provide invaluable guidance to our filmmakers.

Without further ado, meet the filmmakers who have been selected for this year's BFI Flare LGBT Filmmakers' Mentorship scheme.

Dionne Edwards, writer-director

Dionne Edwards is a screenwriter and director. After studying film and TV production at the University of Westminster, she spent a year at Working Title Films on their esteemed Action Internship. She went on to assist agents at Linda Seifert Management, working with some of the UK's best writers and directors. Dionne left in 2011 and formed Teng Teng Films with producer Georgia Goggin. They have made four shorts together, including 'Got Got', which was a finalist in Shooting People's Film of the Month competition. Dionne's 2014 short 'Hi, Miss!' has been invited to festivals worldwide, including BAFTA-qualifiers LSFF and Aesthetica, and it won the Audience Award at the East End Film Festival 2015. Her next short 'We Love Moses' is in pre-production and has been awarded funding by Film London, as part of their London Calling Plus scheme 2016.
Dionne on challenges for LGBT film and filmmakers
In my opinion, the biggest challenge an LGBT filmmaker can face is the pressure of depicting a community that is frequently misrepresented in the media. I face these challenges as a black queer woman and as a critical thinker. I sometimes worry about misrepresenting a character of colour, or a female character, or an LGBT character. You could argue that many straight white male storytellers, for example, have the freedom to depict a whole spectrum of characters, even the most despicable anti-heroes and make them three dimensional and memorable without the same kind of baggage. Queer filmmakers and minority filmmakers do not necessarily have that same freedom without worrying about how the characters will be received. Telling an honest, distinct and engaging story is difficult enough, and whilst it's crucial for LGBT and minority filmmakers to move beyond stereotypes, we should aim to write engaging characters and narratives honestly and freely.
Dionne on an admired filmmaker
I personally think Martin Scorsese is a master storyteller and the greatest living director. As a filmmaker, I am interested in exploring the cinematic form and telling bold, vivid stories with visual excitement. Scorsese's films do this masterfully, combining realistic characters and plotlines with expressionistic techniques. He is a second-generation Italian-American catholic male and his films revolve around themes of guilt, greed, machismo and the Madonna-whore complex. As a black queer woman, my experience couldn't be more different and yet his films have still imprinted on me deeply. Although my experience is very different from the straight white experience that is so dominant in the mainstream, I still look to inform, delight and challenge the audience and tell stories that are personal. In doing so, I hope my films will have some longevity.

Dionne's mentor: Desiree Akhavan

Joy Gharoro-Akpojotor, producer

Joy Gharoro-Akpojotor is an award-winning producer, with experience in producing, production co-ordinating and line producing. Joy's work reflects her cultural background, having grown up in Nigeria, Brunei and the UK. She seeks to tell socially conscious stories that allow people to think, exploring other alternatives where possible. She has produced a series of short films, including 'In My Eyes', with over 10 million YouTube views, and 'Beyond Plain Sight', which last year was nominated for the Best Short Film award at Raindajnce, and two indie feature films, 'M.L.E' and 'White Colour Black'. Aside from producing, Joy holds an MA in creative writing in film, TV and plays, and has been awarded two grants for the arts from the Arts Council in order to develop plays in partnership with theatres such as Theatre Royal Stratford East. She closed Africa Writes Festival at The British Library in 2014 with her play 'Sunday', and will be closing it again in 2016 with her play 'The Immigrant'.
Joy on challenges for LGBT film and filmmakers
Telling a compelling human story that doesn't stereotype or pigeonhole what it means to be LGBT. I think that people get so caught up in sexuality that they forget to look at the story happening, and at times, as LGBT filmmakers, we don't help the cause. We sometimes cater to the stereotypes as opposed to showcasing a story first, in which two people happen to be gay. I think this is one of the reasons why 'Carol' is so beautiful - it's a film about two people who unexpectedly fall in love, and they just happen to be women. As an LGBT filmmaker, I was once told that I shouldn't focus on LGBT stories - to be accepted I need to expand and tell other stories. For me, I tell stories that I love and have experienced regardless of my sexuality, but what I find is that as LGBT filmmakers we must leave our identity at the door in order to be accepted. If I say I'm gay there is an expectation of the type of work I make or should make; as a black woman who is gay, that expectation is doubled. There needs to be more diversity in LGBT films. As a young black Nigerian woman, I have spent most of my life watching lesbian films that have nothing to do with me. By that I mean films that do not understand my culture, nor my blackness, and therefore do not portray what it means to be a black lesbian woman living in London.
Joy on an admired filmmaker
I admire Christine Vachon because she has been able to produce accessible films that matter to a broad audience, such as Go Fish (1994), Boys Don't Cry (1999), Carol (2015) - while staying semi-independent as well. I remember when I first wanted to get into producing but had no idea what I was doing, I read a bunch of books on how to become a producer but none of them really told me about the day-to-day life in terms of expectations. Then I read 'A Killer Life', and that was the first time I understood what I was getting into - to constantly have an open mind, to know that nothing will ever go according to plan, to have about five different options because you'll constantly need them, my approach to people, and understanding the business side of things.

Joy's mentor: Ben Roberts

Kayleigh Llewellyn, writer

Kayleigh is currently writing for Casualty (BBC1), having previously written for Stella (Sky1). She and her writing partner, Matthew Barry, are developing several comedy series with Bad Wolf. They've also been commissioned to write a comedy pilot for BBC Comedy Production. She recently wrote and starred in her first short, Oh-Be-Joyful, winner of Best Comedy at LSFF. She is now developing a feature film, Something Changed. Additionally, she is writing and performing in comedy sketches for PYPO, developed by Stephanie Laing (producer and director of Veep). For radio, they have an original series in development with Radio 4. Kayleigh also writes on the award-winning sketch show, Here Be Dragons (BBC Radio Wales). Kayleigh and Matthew were the recipients of the BAFTA Rocliffe New Comedy Writing Forum 2012 with their script, Grey, which was optioned by Company Pictures and developed for BBC1. Alongside her writing, Kayleigh also performs improvised comedy.
Kayleigh on challenges for LGBT film and filmmakers
People assume that LGBT stories will just be about sex. And sometimes they are. I've seen a tonne of LGBT shorts lately that just focus on gay sex instead of character and story, the person beyond the act of sex. I'm excited by the films that go further ( The Kids Are Alright, 2010, My Summer of Love, 2004, Carol (2015), Appropriate Behaviour, 2015). What about stories about the LGBT people who just work and have families and doubt themselves and struggle to convince people to have sex with them? I remember being so thrilled by an episode of Last Tango in Halifax when it opened on a lesbian couple kissing on the sofa, watching University Challenge and then one of them proposed. It was so moving and relatable. I'm not suggesting LGBT cinema should depict us all as basic bitches, but I like it when it explores all the universal themes that any human connects to: friendship, love, heartbreak, longing for acceptance. Also, the belief that LGBT cinema is arthouse, not multiplex. Or that being gay in general is something that takes place in Soho, not the suburbs. We need to prove that LGBT people are everyone, not other; that if a mass audience can relate to a story about a Jedi, or a man being attacked by a bear, they can relate to a story about a lesbian.
Kayleigh on an admired filmmaker
Jill Soloway. I became aware of her work in 2002 when I was 16 and obsessed with Six Feet Under. I loved her unorthodox route in to the industry. Early on, Jill says the intention of her work was, "inciting feminist revolution" and I believe she has, through her ability to marry drama and comedy together so perfectly and use it to push the boundaries of acceptable storytelling topics. She directs, writes, produces, show runs, she's an activist, an author, and even occasionally cameos on screen. She is both an auteur and a collaborator. Jill also pays it forward, nurturing new talent. I think it's so wonderful when people who have climbed the ladder, turn around and help the next generation up behind them. Not to mention the way she runs the Transparent writers room and crew - it's unique and fantastic, and is producing one of the most meaningful shows of the last decade. But mostly, she is someone with a finely tuned ability to observe the ugly and the beautiful facets of humanity, and recreate them on screen. I often find myself wet-cheeked whilst watching her work. Not because I'm incredibly sad, or laughing so hard I've cried, but because I'm witnessing something that simply speaks to me. That is her skill.

Kayleigh's mentor: Abi Morgan

Dean Loxton, writer-director

Dean studied acting at the Bristol Old Vic Theatre School. In 2011 he directed four 'devised on the day' improvised films, including 'Metro 7 Bis', which was shot in Paris. 'Metro 7 Bis' travelled to many festivals including Palm Springs Shortfest, Austin Film Festival and was shown on US TV. 'White', which he made in Los Angeles while attending Palm Springs Shortest, was seen by Paul Greengrass ( Captain Philips, 2013) who said, "White featured great improvisation and really transported the viewer into the LA street world. Great authenticity and bite, and in a good way left me wanting more." In 2012 he wrote and directed 'Under' with Keeley Forsyth (JK Rowling's 'The Casual Vacancy') in the lead role and a cameo from Daisy Ridley ( Star Wars Episode VII: The Force Awakens, 2015). 'Under' also went to Austin Film Festival, as well as Tehran International Short Film Festival, Odense Film Festival, Bristol Encounters and London Short Film Festival. His latest film 'Dániel' has a cast including Hilda Peter (Peter Strickland's Katalin Varga, 2008) has shown at 18 festivals, was nominated for an Iris Prize and was one of the BFI's '10 to try' at the London Short Film Festival 2016. Dean recently attended the Berlinale Talent Campus 2016.
Dean on challenges for LGBT film and filmmakers
Being honest in your work, and not being afraid of the truth, of going there. It may be uncomfortable, painful, but the audience will appreciate it. With LGBT issues you may be inclined to tone down to make it palatable, but we need strong unapologetic voices. The stories we tell should be about characters that are real. Stereotypes are reinforced when we tell stories involving flat characters reacting in a predictable manner. Make LGBT characters specific, detailed, real and rounded. We have a responsibility.
Dean on an admired filmmaker
I have written his name so many times - Sean Baker is the man! He is brave and raw, brings a class to his subjects in whatever world he enters. His characters are rounded and honest in their formation though they may be literally liars and cheats. I love his work, I am totally inspired by Starlet and Tangerine (2015) especially, and am keen to make a film on the iPhone.

Dean's mentor: Iain Canning

Eimhear O'Neill, documentary filmmaker

Eimhear O'Neill is an Irish filmmaker who won the Best Short Documentary award at the 2014 Galway Film Fleadh for co-directing and co-producing 'Inez: A Challenging Woman', a film exploring the life of civil rights and trade union activist Inez McCormack. She was associate producer on the Oscar-shortlisted and Emmy-winning Alex Gibney documentary, Mea Maxima Culpa: Silence in the House of God (2012) for HBO and she also directed 'The Joy of Sets' for BBC One Northern Ireland, which was selected for Sheffield Doc/Fest's 2014 Videotheque. She is currently co-producing a feature documentary directed by Alex Gibney and produced by Trevor Birney, and is also directing her first feature documentary for Trevor Birney's Fine Point Films and Abigail Disney's Fork Films, telling the story of the world's first all-female elected political party: the Northern Ireland Women's Coalition.
Eimhear on challenges for LGBT film and filmmakers
First, it's important to reference that the landscape does not exist to make the films we want to tell. In my opinion, that statement is as true for all filmmakers as it is for LGBT filmmakers. The market and broadcasters create the benchmarks - and we try to create ideas within them. As a result, our expressions in film are less meaningful than they could be from the point of conception and development. Why do we want to be filmmakers? To tell stories that reflects our lives. Often our ideas are exactly about our lives - and very often we are told they are not universal enough. Or too niche. It's a challenge for LGBT films and filmmakers to convince the 'money people' that our stories are indeed universal to get financing.

It's also a challenge for LGBT films and filmmakers to make stories that are largely about woman. "I like it but where are the men?" The indifference to gender is a hot topic, of course, but if we are ignoring almost half of the population, we need to ask: what impact is this having on our films on screen and off screen? It's extremely important that we, as a younger generation of filmmakers, see older filmmakers achieving their vision. Personally, there is no greater inspiration than older women, especially LGBT-identified female filmmakers, being respected and visible in their craft. I know there can be a crippling effect when it comes to taking a risk on a younger, female director but when we see others doing it, we believe we can too. Mentorship and visibility is key and we don't have enough of it.
Eimhear on an admired filmmaker
Sheila Nevins, television producer and president of HBO Documentary Films. Not only is she a self-confessed "great believer in the anonymity of the documentary subject", but she also finances sensitive and 'niche' documentary subjects when others do not. Within the LGBT genre, she is behind The Case against 8, one of the best-edited and most powerful documentaries I've ever watched exploring the fight for equal marriage in California. In the last year alone, she helped finance Kurt Cobain: Montage of Heck (2015) and The Jinx - both genre-defining documentaries that immerse an audience in cinema. I admire her most because she has enabled a generation of filmmakers to tell stories that, in part, reflect my life. And, in part, help me as a filmmaker and a lesbian, feel prouder to keep fighting to tell our stories.

Eimhear's mentor: Beadie Finzi

Siri Rødnes, writer-director

Siri Rødnes (b. Edinburgh, 1983) is a director and writer with proclivities towards genre. Her recent short films include 'Take Your Partners' (Berlinale, TIFF Kids, BFI Flare: London LGBT Film Festival), and the Creative Scotland-commissioned 'Grimm Street'. Also completed in 2015 was 'Asking For It', released online in co-ordination with the International Day for the Elimination of Violence against Women. She is currently developing her debut feature, Nine Lives, with Gavin Humphries at Quark Films, co-written by Tom Basden and adapted from the science-fiction short story by Ursula K. Le Guin. She is also writing an original feature screenplay based on 'Take Your Partners', with support from Creative Scotland and the Scottish Filmmakers Talent Network. She has an MA in directing fiction from the National Film and Television School, and has participated in the Berlinale Talent Campus, Edinburgh International Film Festival and Reykjavik International Film Festival Talent Labs.
Siri on challenges for LGBT film and filmmakers
Recognising that on a mass scale young people do not identify with, or necessarily share, our narrow gender definitions. When making 'Take Your Partners' I realised that, although the film holds a powerful message for an audience of children, it is perhaps a more useful perspective for adults to experience as it is they who are rooted in the past. The next generation are already spinning their own gender narratives out in the open in the mainstream, as opposed to how I grew up in the closet. Many young people in the UK identify as non-binary sexually... Imagine a world where more and more of us are openly queer! That world is already emerging and I think it is our responsibility as artists to explore and encourage it. Which leads to another challenge: moving queer cinema beyond the coming out story. Although undeniably important to continue to tell all of our stories, coming out will be less of a concern among future peer groups, so the traditional lonely coming out narrative will hopefully diminish in frequency and relevance. I think this will open up an exciting space for different kinds of queer-inclusive narrative to evolve and integrate. Personally I love sci-fi and believe queer needs to be visible in more than just 'queer cinema'. This is also relevant when we consider our future audience. Traditionally, queer cinema is a niche genre with a niche audience, but if more and more people identify as queer in some way, then they are going to want stories and characters that reflect them and their desires. That's a pretty big market share!
Siri on an admired filmmaker
Being a big genre fan, I could name many legendary directors whose work has influenced me over the years, but none completely consistently throughout their careers. But with a box office saturated in formulaic blockbusters, superhero reboots and arbitrary horror movies, I really appreciate it when films like Robert Egger's The Witch (2015) and Duncan Jones' Moon (2008) land on the big screen, giving depth and meaning to genre again. That said, I still draw a lot of inspiration from the likes of Alien (1979), Jurassic Park (1993) and Terminator 2: Judgment Day (1991), with Pan's Labyrinth (2006) and Children of Men (2006) also featuring highly.

Siri's mentor: Andrew Macdonald

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BFI Flare LGBT Filmmakers' Mentorship: meet the filmmakers

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Back in January, we opened submissions for the second edition of the BFI Flare LGBT Filmmakers' Mentorship, delivered in 2016 with BAFTA and supported by Creative Skillset.

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How hard can it be to make a short film? This light-hearted documentary follows Angie and Jackie, a lesbian couple in their 50s who try their hand at making a film for the first time. With only their film-watching experience, the book Short Films by Nathan Parker and the British Film Institute's one-day workshop Absolute Beginners to guide them, they throw themselves into the adventure and when things go wrong, events lead them to a most unexpected outcome.

Features the 3 minute short Childs Play, the product of the process captured by this documentary.
Official Selection:

Dialogues: Calcutta International LGBT Film and Video Festival (India) - November 2015

Michigan Womyn's Music Festival (USA) - August 2015

Ludlow Fringe Festival (UK) - June 2015

Merlinka Film Festival (Serbia) - December 2014

Women's Words Film Festival (USA) - September 2014

F-M LGBT Film Festival (USA) - September 2014

Queer Bits Film Festival Chicago (USA) - June 2014

B'more QFest Baltimore (USA) - June 2014

Outview Queer Film Festival Athens (Greece) - May 2014

Tampa International Gay and Lesbian Film Festival (USA) - October 2013

LGBTQI Days of Films Festival, Sebastopol California (USA) - October 2013

Rainbow Lesbian and Gay Film Festival (UK) - October 2013 ***Winner: Audience Award Favourite Short 2013***

Frameline 37 San Francisco International LGBT Film Festival - June 2013

Sydney Mardi Gras Aurora Community Channel (Aus) - March 2013

Queer Fruits Film Festival (Byron Bay Aus) - December 2012

An earlier version of this film Angie & Jackie Untitled, screened at Outrageous! Santa Barbara Film Festival in 2011.

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Films Archives · Looking at You Productions

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How hard can it be to make a short film? This light-hearted documentary follows Angie and Jackie, a lesbian couple in their 50s who try their hand at making a film for the first time.

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All the latest Film, TV, Streaming & Digital news

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Showcasing the work of artists who use photography and film to highlight questions of race, representation, human rights and social justice.

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Autograph is a place to see things differently. Since 1988, we have championed photography that explores issues of race, identity, representation, human rights and social justice, sharing how photographs reflect lived experiences and shape our understanding of ourselves and others.

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Autograph | A Place to See Things Differently

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Photography that explores race, identity, representation, human rights and social justice. Visit our gallery in London - entry is free

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Our mission is to collect, preserve and celebrate the histories of people of African and Caribbean descent in the UK and to inspire and give strength to individuals, communities, and society.

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https://fastforward.photography/

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The Racial Bias Built Into Photography. – read here

“America’s Racial Contract Is Killing Us” by Adam Serwer – read here.

Ella Baker and the Black Freedom Movement (Mentoring a New Generation of Activists – read here.

“My Life as an Undocumented Immigrant” by Jose Antonio Vargas | NYT Mag – read here.

The 1619 Project (all the articles) | The New York Times Magazine – read here.

The Combahee River Collective Statement – read more

“The Intersectionality Wars” by Jane Coaston | Vox – read more

Tips for Creating Effective White Caucus Groups developed by Craig Elliott PhD – read here.

“White Privilege: Unpacking the Invisible Knapsack” by Knapsack Peggy McIntosh – read here.

“Who Gets to Be Afraid in America?” by Dr. Ibram X. Kendi | Atlantic – read here.

WFTV Member Christiana Ebohon-Green meets Wunmi Mosaku: ‘It’s exhausting being the non-threatening black woman’ by Ellen E Jones – read here.

RunRepeat worked with The Professional Footballers’ Association to examine commentary in football matches. Read the study here.

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The Racial Bias Built Into Photography (Published 2019)

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Sarah Lewis explores the relationship between racism and the camera.

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Cheating the Age, Teenage misrepresentation in Film and TV

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Cheating the Age, Teenage misrepresentation in Film and TV

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John Travolta was 24 when acting in Grease (1978), where he was meant to be in high school. In The Breakfast Club (1985), the rebellious John Bender (who was meant to be 16 years old) was played by Judd Nelson, who at the time was 25. A VICE statistic research article "Inside the Phenomenon of Grown Adults Playing Teenagers on TV" (2017), shows how on some TV programmes such as Glee, Riverdale or Buffy the Vampire Slayer, the age gap between the actors and the characters they're playing is an average of 8+ years.

And the list goes on... Pretty Little Liars main cast is aged 20-24. Blake Lively was 20 and Leighton Meester 21 years-old at the beginning of Gossip Girl. Our beloved Regina George in Mean Girls was played by a 25-year-old Rachel McAdams. The O.C.' s Ryan and Seth, were respectively 24 and 23 in the first episode.

Why are such a huge portion of on-screen teens are played by actors in they 20s? The answer is not as scandalous as one could imagine.

Shooting with underage actors entails serious production restrictions. "It's all because of the labor laws. The number of hours that children are allowed to work are highly restricted, which limits the amount of time that producers can actually have adolescents on set", Todd Thaler (casting director on Billy Madison, Because of Winn Dixie, and Maid in Manhattan) explains to VICE. Within those hours also meals, rest and education are included. In addition, an actor who is a minor needs to have a chaperone on set, which is another crew member and, consequently, a further expense for the production. Therefore it comes with no surprise that the casting choices are often dictated by financial and logistical reasons.

But which are the implications of the misrepresentation of this age? Especially on the younger audience?

First of all, at one point in our lives we all might have been mean girls or clueless, but no one's physical appearance looked like the ones on screen. I struggle to remember anyone in my high school with perfect hair, unblemished skin, and expensive fashion as Regina George, or even Cady Heron (Lindsay Loan), who is meant to be homely and plain.

In a time as pivotal as our teenage years, social comparison plays a tremendous role in the psychological and sociological development of the individual. With the flawless portrait of 'teenagers' on screen, this creates a false impression of teenage bodies and appearances, and can be extremely harmful and dissociative for the teen viewers.

Acne is a very interesting factor in this conversation as well. I remember reading about the panic that exploded in 2005 on Harry Potter And The Goblet Of Fire set, where all the cast suffered from teenage acne, but then the more make up they would apply to the teenagers' faces, the more the spots increased. This affliction is most normal for teenagers, but the studio and their versions of "perfection" only made it worse.

This is why we should applaud the skin imperfections shown in Lady Bird by Greta Gerwig. It's not just a matter of representing the drama and the chaos of those transformational years, it's also the responsibility of respecting and accepting our characters exactly as they are, and therefore, ourselves as well, no matter our perceived 'faults'.

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Cheating the Age, Teenage misrepresentation in Film and TV - Cinegirl

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We all share the memories of the smell of the sweaty classroom on the final days before the summer break. The first awkward bra. New unexpected hairs growing on the body. The changing of our skin and the first clumsy kisses.

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Black Feminism & the Movement for Black Lives – watch here.

“How Studying Privilege Systems Can Strengthen Compassion – watch here.

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About Race with Reni Eddo-Lodge– listen here.

Code Switch (NPR) – listen here.

Intersectionality Matters! hosted by Kimberlé Crenshaw – listen here.

New York Times: 1619 – listen here.

Race Forward: Momentum podcast – listen here.

The Leadership Conference on Civil & Human Rights: Pod For The Cause – listen here.

Crooked Media: Pod Save the People – listen here.

Scene on Radio: Seeing White – listen here.

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13th (Ava DuVernay) — Netflix

American Son (Kenny Leon) — Netflix

Black Power Mixtape: 1967-1975 — Available to rent

Clemency (Chinonye Chukwu) — Available to rent

Dear White People (Justin Simien) — Netflix

Fruitvale Station (Ryan Coogler) — Available to rent

Explained – The Racial Wealth Gap (Season 1, Episode 3) – Netflix

I Am Not Your Negro (James Baldwin doc) — Available to rent

If Beale Street Could Talk (Barry Jenkins) — Hulu

Just Mercy (Destin Daniel Cretton) — Available to rent

King In The Wilderness  — HBO

See You Yesterday (Stefon Bristol) — Netflix

Selma (Ava DuVernay) — Available to rent

Sitting in Limbo (Stella Corradi) – Available on BBC iPlayer

The Black Panthers: Vanguard of the Revolution — Available to rent

The Hate U Give (George Tillman Jr.) — Hulu with Cinemax

When They See Us (Ava DuVernay) — Netflix

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Decolonising the camera : photography in racial time – available here.

Black and British: A Forgotten History, David Olusoga – available here.

Why I’m No Longer Talking to White People About Race, Reni Eddo-Lodge

Audio book version available here

Hardcopy available here

Girl, Woman, Other, Bernardine Evaristo – hardcopy available here.

Black Feminist Thought, Patricia Hill Collins – hardcopy available here

Eloquent Rage: A Black Feminist Discovers Her Superpower, Dr. Brittney Cooper – hardcopy available here

Heavy: An American Memoir, Kiese Laymon – hardcopy available here.

How To Be An Antiracist, Dr. Ibram X. Kendi – hardcopy available here.

I Know Why the Caged Bird Sings, Maya Angelou – hardcopy available here.

Just Mercy, Bryan Stevenson – hardcopy available here.

Me and White Supremacy, Layla F. Saad – audio and print available here.

Raising Our Hands, Jenna Arnold – hardcopy available here.

Redefining Realness, Janet Mock – hardcopy available here.

Sister Outsider, Audre Lorde – hardcopy available here.

So You Want to Talk About Race, Ijeoma Oluo – hardcopy available here.

The Bluest Eye, Toni Morrison – hardcopy available here.

The Fire Next Time, James Baldwin – hardcopy available here.

The New Jim Crow: Mass Incarceration in the Age of Colorblindness, Michelle Alexander – hardcopy available here.

The Next American Revolution: Sustainable Activism for the Twenty-First Century, Grace Lee Boggs -hardcopy available here.

The Warmth of Other Suns, Isabel Wilkerson – hardcopy available here.

Their Eyes Were Watching God, Zora Neale Hurston – hardcopy available here.

This Bridge Called My Back: Writings by Radical Women of Color, Cherríe Moraga – hardcopy available here.

When Affirmative Action Was White: An Untold History of Racial Inequality in Twentieth-Century America, Ira Katznelson – hardcopy available here.

White Fragility: Why It’s So Hard for White People to Talk About Racism, Robin DiAngelo, PhD – hardcopy available here.

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AMERICAS

ELI FARINANGO
Kichwa
Hamilton, ON, Canada + Otavalo, Ecuador

www.elifarinango.com

@elifarinango

JENNY IRENE MILLER
Inupiaq
Albuquerque, NM, USA

www.jennyirenemiller.com

@jennyirenemiller

RUSSEL ALBERT DANIELS
Diné & Ho-Chunk
Salt Lake City, UT, USA

www.russeldaniels.com

@russelalbertdaniels

DAWNEE LEBEAU
Cheyenne River Tetonwan
Wakpa Was'te' / Eagle Butte, SD, USA

www.dawneelebeau.com

@dawneelebeauphoto

PAMELA J. PETERS
Diné (Navajo)
Los Angeles, CA, USA

www.tachiiniiphotography.com

@tachiiniiphotography

ALEX JACOBS-BLUM
Lower Cayuga, Six Nations of the Grand River Territory
Mount Hope, ON, Canada

www.alexjacobsblum.com

@alexjacobsblum

MINIK BIDSTRUP
Inuk
New York, NY, USA

www.minikbidstrup.com

@bidstrupp

KALEN GOODLUCK
Three Affiliated Tribes & Navajo & Tsimshian
New York, NY, USA

www.kalengoodluck.com

@kalengoodluck

JEFF THOMAS
Onondaga, Six Nations of the Grand River Territory
Ottawa, ON, Canada

www.jeff-thomas.ca

MARISSA GONZALES
Cherokee & Chahta
Los Angeles, CA, USA

marissagonzales.myportfolio.com

@indigewitch

KARI ROWE
Turtle Mountain Ojibwe + Ogalala Lakota
Portland, OR, USA

www.karirowe.com

@karirowephoto

RODERICO YOOL-DÍAZ
Maya Kaqchikel
Durham, NC, USA

www.rodediaz.com

@rode_diaz

DAKOTA MACE
Diné
Madison, WI, USA

www.dakotamace.com

@dmaceart

GAVIN JOHN
Metis Nation of Alberta
Calgary, AB, Canada

www.gavinbryanjohn.com

@gjohnjournalism

TATÉ WALKER
Cheyenne River Sioux Tribe
Phoenix, AZ, USA

www.jtatewalker.com

@walkerimagining

SHELBY LISK
Kanyen'kehá:ka (Mohawk)
Ottawa, ON, Canada

www.shelbyliskphoto.com

@shelbyliskphoto

Z LONG
Cherokee
Omaha, NE, USA

www.zlongvisuals.com

@visionsanddisorders

MARCEL PETIT
Cree + Metis
Saskatoon, SK, Canada

www.marcelpetit.ca

@mountainmetis

EUNICE STRAIGHT HEAD
Cheyenne River Sioux Tribe
Eagle Butte, SD, USA

www.straightheadphotography.com

@straightheadphotography

CHARLEY NEISNER
Apache
Syracuse, NY, USA

www.charleyneisner.com

@chvrley_

CARA ROMERO
Chemehuevi
Santa Fe, NM, USA

www.cararomerophotography.com

@cararomerophotography

BRIAN ADAMS
Inupiaq
Anchorage, AK, USA

www.baphotos.com

@brianadamsphotography

TAILYR IRVINE
Confederated Salish & Kootenai
Missoula, MT, USA

www.tailyrirvine.com

@tailyrirvine

TEKPATL KUAUHTZIN
Nahua, Cucapa, Tsalagi
Los Angeles, CA, USA

@tekpatl

JOE WHITTLE
Caddo & Delaware
Joseph, OR, USA

www.joewhittlephotography.com

@joewhittlephotography

JEREMY DENNIS
Shinnecock
Southampton, NY, USA

www.jeremynative.com

@jeremynative

KILIII YUYAN
Nanai/Hezhen
Seattle, WA, USA

www.kiliii.com

@kiliiiyuyan

PAT KANE
Timiskaming First Nation
Yellowknife, NWT, Canada

www.patkanephoto.com

@patkanephoto

PAUL WILSON
The Klamath Tribes
Chiloquin, OR, USA

www.maqlaqsmedia.com

@paulrww

TAHILA MINTZ
Yaqui
Allegany Reservation, NY, USA

www.tahila.net

@tahilasnap

JENNI MONET
Laguna Pueblo
New York, NY + Tucson, AZ, USA

www.jennimonet.com

@missmonet

KAYLEE SMOKE
Dakota Plains First Nation
Hamilton, ON, Canada

www.kayleesmoke.com

@kayleesmoke

ALEJANDRA RUBIO
Yavapai-Apache Nation
Carson City, NV, USA

www.alejandra-rubio.com

@alejandra_rubio_photography

LINDA DUTAN
Cañari
New York, NY, USA

www.cargocollective.com/lindadutan

@via.linfinite

CODY HAMMER
Cherokee
Skiatook, OK, USA

www.thecodyhammer8.wixsite.com/mysite

@_codyhammer_

NĪA MACKNIGHT
Hunkpapa Lakota (Standing Rock Sioux) & Anishnaabe (White Earth Chippewa)
Los Angeles, CA, USA

www.niamacknight.com

@nia.macknight

CANDICE WARD
Kehewin Cree Nation
Calgary, AB, Canada

www.candiceward.ca

@candicewardphotography

JARETTE WERK
Aaniiih + Nakoda Nations

@Jarrette_Werk

KAYLA MACINNIS
Métis
Vancouver, BC, Canada

www.kaylamacinnis.com

@kaylabythesea

RIVER WHITTLE
Caddo Nation of Oklahoma + Delaware Nation of Oklahoma
Albuquerque, NM, US

miarw96.wixsite.com/natanehriver

@natanehriver

MATIKA WILBUR
Tulalip & Swinomish
Seattle, WA, USA

www.matikawilbur.com + www.project562.com

@project_562

JOSUÉ RIVAS
Mexica & Otomi
Portland, OR, USA

www.josuerivasfoto.com + www.standingstrongproject.com

@josue_foto

THOMAS RYAN REDCORN
Osage
Osage Reservation, Pawhuska, OK, USA

@redcorn

TARA WESTON
Oglala Sioux
Oglala, SD, USA

www.tararoseweston.com

@tararoseweston

KALI SPITZER
Kaska Dena & Jewish
Portland, OR + Daylu (Lower Post), BC, Canada

kalispitzer.com

@kali_spitzer_photography

WILL WILSON
Navajo
Santa Fe, NM, USA

willwilson.photoshelter.com

@willraywilson

JAIDA GREY EAGLE
Oglala Lakota
St. Paul, MN, USA

www.jaidagreyeagle.com

@jaida.l.greyeagle

MADISON LONG
Eastern Band of Cherokee Indians
Cherokee, NC, USA

www.madisonhye.com

@madison_hye

MELODY CHARLIE
Ahousat
Nuuchahnulth, BC, Canada

www.melodycharlie.com

@firstnationphotographer

TOMAS KARMELO AMAYA
Yaqui & Zuni & Tarahumara
Phoenix, AZ, USA

www.tomaskarmelo.com

@tomaskarmelo

CINTHYA SANTOS BRIONES
Nahua
New York, NY, USA

www.cinthya-santosbriones.com

@cinthyasantosb

GABRIELLE NORTE
Los Coyotes Band of Cahuilla and Cupeño Indians
Warner Springs, CA, USA

www.gabriellenorte.com

@nativekidwithacamera

SHARON CHISCHILLY
Navajo
Navajo Nation (New Mexico, Arizona, and Utah)

www.chischillyphotography.squarespace.com

@sharonchischillyphoto

JOHN PAILLÉ
Anishnaabe (G'Chimnissing - Beausoleil First Nation)
Toronto, ON, Canada

www.johnpaille.com

@johnpaille

NORMA IBARRA
Yaqui
Vancouver, BC, Canada

www.normaibarra.com

@Lapir0

ROBBY DICK
Ross River Dena Council
Ross River, YT, Canada

www.kaskaphotography.com

@kaska_photography

MANAL MURANGI
Mbanderu
MD, USA

manalsmedia.squarespace.com

@manals_media

LAWRENCE SUMULONG
Casiguran Dumagat Agta
Brooklyn, NY, USA

www.lawrencesumulong.com

WHITNEY SNOW
Suquamish + Blackfeet
Heart Butte, MT, USA

www.whitneysnowphotography.com

@whitneysnow10

WARA VARGAS LARA
Quechua
La Paz, Bolivia

www.waravargas.weebly.com

@wara_vargas

CITLALI FABIAN
Zapoteca
Oaxaca City, Mexico

www.citlalifabian.com

@citlalifabian

CHRISTIAN LEYVA
Náhua
Guerrero, México

fotocristianleyva.wordpress.com

@fotocristianleyva

JUAN JOSÉ ESSTRADA SERAFÍN
Purépecha
Meseta Purépecha, Michoacán México

nuestraaparenterendicion.com/testigospresenciales/juan-jose-estrada-serafin

@xikuame

TAYNÁ BATISTA
Sateré-Mawé
Barreirinha, Amazonas, Brazil

@tayna_satere

OCTAVIO LÓPEZ
Zapotec
San Andrés Zautla, Oaxaca, México

www.octaviolopezjimenez.com

@ehkatl

JERO GONZALES
Quechua
Cusco, Perú

www.jerogonzales.com

@jerogh

LUVIA LAZO
Zapotec
Oaxaca, Mexico

www.luvialazo.com

@luvialazo

JAIRO NICOLAS BERNAL USAMA
Los Pastos
Ipiales, Nariño, Colombia

@jaironicolasb_ph

SARA ALIAGA TICONA
Aymara
La Paz, Bolivia

www.sarawayraphoto.weebly.com

@sarawayraphoto

YAEL MARTÍNEZ
Nahua/Mexican
Guerrero, Mexico

www.yaelmartinez.com

@yaelmtzv

MORENA PÉREZ JOACHIN
Mam
Guatemala City, Guatemala

www.morena.com.gt

@wmorena

URIEL MONTÚFAR
Aymara
Puno, Perú

www.urielmontufar.com

@urielmontufar

AFRICA

ADEDAMOLA ODETARA
Yoruba
Lagos, Nigeria

www.adedamolaodetara.com

@adedamola_op

TAIWO AINA
Yoruba
Ilorin, Nigeria

www.taiwoaina.com

@taiwoaina_

ADESEGUN ADEOKUN
Yoruba
Abuja, Nigeria

www.behance.net/adesegunadeokun

@adeokunadesegun

IMMACULATA ABBA
Igbo
Enugu + Abuja, Nigeria

www.immaculataabba.com

@immaculata.na

OLUWOLE HAMMOND
Yoruba
Abuja, Nigeria

www.wolehammond.com

@wolehammond

AISHA BADA
Yoruba
Lagos, Nigeria

www.aishabada.com

@aisha_bada

MARYAM TURAKI
Ngas + Nupe
Abuja, Nigeria

www.maryamturaki.com

@maryamaturaki

DAVID EXODUS
Atyap / Kataf
Abuja, Nigeria

www.behance.net/dawalidavid

@dawalidavid

SOLOMON NZIOKI
Kikuyu + Kamba
Nairobi, Kenya

www.rootsofafrika.co

@rootsofafrika

NNEKA IWUNNA EZEMEZUE
Igbo
Lagos, Nigeria

www.nnekaezemezue.com

@nnekaezemezue

OLU JAMESON
Yoruba
Ibadan, Nigeria

www.thisolujameson.com

@thisolujameson

SAMMY NJOROGE
Kikuyu
Nairobi, Kenya

www.behance.net/sammynjoroge

@idfied

GEREMEW TIGABU
Ethiopian, Amhara, + Tigre
Addis Ababa, Ethiopia

www.geremewtigabu.com

@ghost_ti

TSHEPISO MABULA KA NDONGENI
Xhosa
Johannesburg, South Africa

tshepisomabs.wixsite.com/southesternside

@quintessential_mmasnepe

OKE OLUWASEGUN
Yoruba
Ibadan, Nigeria

www.okeoluwasegunm.wordpress.com

@okeoluwasegunmoses

OYEWOLE LAWAL
Yoruba
Lagos, Nigeria

www.oyewolelawal.com

@oyewole__lawal

ASIA, OCEANIA, & PACIFIC

ALEXANDRA MOANA KING
Whakatohea, Ngai Tuhoe, Ngati Porou + Uritaua
Rarotonga, Cook Islands

www.alexkingphotographer.com

@alexkingphotography

MILLO ANKHA
Apatani
Arunachal Pradesh, India

fernfields.wordpress.com

@millo.ankha

NAYLA AZMI
Sumatran Batak
Indonesia

www.nuragabhumi.org

@nayla.azmii

WAYNE QUILLIAM
Palawa
Melbourne, VIC, Australia

www.aboriginal.photography

@waynequilliam

FLANEGAN BAINON
Murut
Kota Kinabalu, Malaysia

www.flaneganb.net

@flaneganbphoto

KAPULEI FLORES
Kanaka Maoli (Native Hawaiian)
Hawai’i, HI, USA

www.kapzphotography.com

@kapzphotography

BUKBISJ CANDRA ISMETH BEY
Sundanese
West Java, Indonesia

@nyalak.anjing

QIANE MATATA-SIPU
Māori
Auckland, Aotearoa (New Zealand)

www.qiane.co.nz

@qianeandco

HOUKAMAU TE AHO POTAE
Māori
Opotiki, Bay of Plenty, New Zealand

www.manahauphotos.squarespace.com

@teahoj | @manahauphotos

KA’ŌHUA LUCAS
Kanaka Maoli (Native Hawaiian)
Honolulu, HI, USA

www.kaohuaphotography.com

@kaohuaphotography

HAFITZ MAULANA
Malayan + Javanese
Jakarta, Indonesia

www.hafitzmaulana.com

@hafitz.maulana

EUROPE

CAMILLE SEAMAN
Shinnecock
Kilrush, Clare, Ireland

www.camilleseaman.com

@camilleseaman

NAINA HELÉN JÅMA
Sami
Stockholm, Sweden

www.nainahelen.com

@nainahelen

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The Indigenous Photograph database showcases the work of Indigenous visual storytellers from around the world.

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A BLACK COVER DESIGN (ABCD) IS AN INTERNATIONAL BRANDING AGENCY BASE IN BEIJING & LOS ANGELES.

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https://shutterhub.org.uk/

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Mental Health for Creative Freelancers

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11 stories tackling the everyday mental health challenges of creative freelancers

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ArtRabbit is a platform for international contemporary art exhibitions and events

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Find contemporary art exhibitions and events and connect with museums, galleries, artists and curators worldwide.

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London Photography Diary | Exhibition & Event Guide

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All

Center

Central

East

North

South

West

Jeff Wall | White Cube | 27 Apr - 25 Jun

Sunil Gupta: Songs of Deliverance, Part I and II | Studio Voltaire | 24 Mar - 24 Jun

Melanie Manchot: Alpine Diskomiks | Paraffin | 6 May - 25 Jun

Hans Hartung | Wadington Custot | 22 Apr - 1 Jul

Through a Modern Lens: Photographs by Brassai, Bill Brandt and Irving Penn | Marlborough | until 1 Jul

Mark Ruwedel: Inland: Haunted by the Desert | Large Glass | 11 May - 9 Jul

Feeding Black: Community, Power and Place | Museum of London: Docklands | 16 Jul 2021 - 17 Jul 2022

Choi Soowhan: A Positive Absence | Pontone Gallery | 04 June - 17 July

Amy Siegel: Bloodlines | Thomas Dane Gallery | 27 Apr - 23 Jul

Nicholas Hughes: The Sound of Space Breathing | The Photographers' Gallery | 27 May - 24 Jul

Rachidi Bissiriou - Gloire Immortelle | David Hill Gallery | until 30 July

Doug & Mike Starn: Can’t, Won’t, and Don’t Stop | Hackelbury | 9 June - 6 Aug

Style: Photography of Life and Fashion | Atlas Gallery | 28 Jun - 20 Aug

Mark Neville: Ukraine in Focus | V&A | 31 May - 22 Aug

Catherine Opie: To What We Think We Remember | Thomas Dane Gallery | 07 June 7 - 27 Aug

Omoiyari: Keiken X Gabriel Massan | The Photographers’ Gallery | 20 May - 31 Aug

Richard Learoyd & Irving Penn: Flowers | Hamiltons | 22 Jun - 10 Sep

JJ Levine: Queer Photographs | Canada House | until 18 Sept

How to Win at Photography | The Photographers’ Gallery | 24 June - 25 Sep

Monica de Miranda: The Island | Autograph ABP | 24 Jun - 22 Oct

Known and Strange: Photographs from the Collection | The V&A | 12 Nov - 6 Nov 2022

Maurice Broomfield | V&A | 6 Nov 2021 - 6 Nov 2022

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CURRENT EXHIBITIONS | London Photography Diary, Exhibitions & Events

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All Center Central East North South West Jeff Wall | White Cube | 27 Apr - 25 Jun Sunil Gupta: Songs of Deliverance, Part I and II | Studio Voltaire | 24 Mar - 24 Jun Melanie Manchot: Alpine Diskomiks | Paraffin | 6 May - 25 Jun Hans Hartung | Wadington Custot | 22

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The art of networking (even during a pandemic) #PressPadRemote MASTERCLASS

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The art of networking (even during a pandemic) #PressPadRemote MASTERCLASS

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The art of networking (even during a pandemic) #PressPadRemote  MASTERCLASS

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Mentoring can help individuals and their career development. ScreenSkills supports:

Mentees

Mentors

Organisations that wish to participate in mentoring

Whether you are a mentee or a mentor, there are benefits for both. ScreenSkills runs an in-house mentoring programme as well as supporting other organisations that wish to offer mentoring. Please click below for more information on these options:
Find out about registering as a mentor Find out about registering as a mentee
All of our mentors are volunteers. If you identify a mentor without the help of ScreenSkills, you can both still join the programme. If you both agree to form a mentoring partnership and would like the support of ScreenSkills, please email mentoring@screenskills.com and we can include you and your mentor in our programme and support you with training and resources. You will need the agreement of your mentor in order to join.
E-Learning modules
ScreenSkills e-learning modules supporting mentoring partnerships - Mentoring for mentors and Mentoring for mentees - are free to access and provide an introduction to the concept of mentoring for either the mentor or mentee. This online training is supported by the BFI, awarding National Lottery funds as part of its Future Film Skills strategy. The e-learning modules can be found in the ScreenSkills training course directory or can be accessed via the links below:
Benefits of mentoring
Benefits of mentoring for both parties include:

Seeing things from another's perspective

Increasing your network

Giving and receiving feedback

Developing communication skills

Learning from the ideas and experiences of someone who is different to you

Using your creativity

Boosting your job satisfaction

A deeper appreciation of diversity and inclusivity

Download mentoring resources
Below is some information for mentors and mentees. More information and guidance for organisations is available through emailing mentoring@screenskills.com.

You will find a longer guide and a shorter briefing about what mentoring is all about, what to expect and what is expected of you. The 'sessions flow' document illustrates how you can structure the mentoring conversations. Use the session log template to record what was discussed and agreed in the session. Use the action plan template to formalise the actions the mentee will do between sessions. If as a mentor you ever feel you are not able to help your mentee you may find the information in 'great mentors do not need all the answers' useful.

Our mentoring community

Join our mentoring community

Can your organisation give back to the industry whilst developing its own staff? Do you and your colleagues want to share your industry experience and boost your careers?

To assist organisations in setting up mentoring programmes, ScreenSkills can provide:

Free information and support

Free training and consultancy

Advice on sourcing suitable mentees from within your organisation, external to your organisation or from the ScreenSkills Mentoring Programme

In some cases, financial support

Follow these three steps to become of ScreenSkills' mentoring partner organisations:

1. Contact us to find out more about mentoring benefits and activities at mentoring@screenskills.com

2. We will provide free information and support to make sure your organisation has everything needed to start mentoring. This can include training, consultancy or funding to run your own mentoring programme.

3. Recruit mentors in your organisation to help professionals across the UK develop and progress in their careers.

The ScreenSkills Mentoring Network is supported by the BFI with funds from the National Lottery under the BFI's Future Film Skills Strategy. The Mentoring Network runs across all sectors of the screen industry and across the UK. It is aimed at:

Those who want to progress within or across the industry

Those who want to return after a break

Meet our mentoring community
Here you can find a list of organisations and charities within the wider screen industry across the UK which have been supported by ScreenSkills to offer mentoring schemes or mentoring support as part of a wider initiative or as part of our Mentoring Network. Together we are providing a mentoring community of best practice. If you are an organisation charity or a production company interested in finding out more about joining the community of best practice, please contact mentoring@screenskills.com.

ACCESS: VFX

Association of Camera Operators (ACO)

A New Direction

BBC Studioworks

BEATS

Bectu Cymru

British Society of Cinematographers (BSC)

Comedy 50:50

Creative Access

Creative Mentor Network

Directors UK

DV Talent

Edinburgh TV Festival

Encounters

Hat Trick Productions

Iconic Steps

illuminatrix

MAMA Youth

Media Trust

Moving Body Arts

NextGen Skills Academy

PUNCH

Resource Production

The Royal Television Society

Sara Putt Associates

Scottish Documentary Institute

The Screen Community

Screen Northants

SIGN

SOUL Film Festival

Talking Point

The Garden Productions

The TV Foundation

ThinkBIGGER!

TV Talent North

Under the Moon

Women in Film & TV

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Mentoring can help individuals and their career development. ScreenSkills supports: Mentees Mentors Organisations that wish to participate in mentoring Whether you are a mentee or a mentor, there are benefits for both. ScreenSkills runs an in-house mentoring programme as well as supporting other organisations that wish to offer mentoring.

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Tackling imposter syndrome | #PressPadRemote MASTERCLASS with Frank Starling

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Types of membership: https://www.the-aop.org/membership

Students Membership: https://www.the-aop.org/join-us/student

Assisting photographer membership: https://www.the-aop.org/join-us/assisting-photographer

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The AOP is a UK based Membership Organisation that promotes, and protects the rights of photographers.

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For individuals from communities under-represented in the creative industries

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Inspire. Access. Thrive.

We are a social enterprise providing career-long access, opportunities, support and training for people from under-represented groups, to make the creative industries reflect society.

Our impact to date

Our impact to date

Individuals say our support has had a significant impact on their career

Our partners attribute their progress in DE&I to their work with us

Our interns secure permanent creative industry jobs

How our inclusivity training scores in providing tools and knowledge to act on

We're making an impact

Read about how our work is helping individuals access careers and thrive.

See more

Arrow Icon Left Arrow Icon Right

Icon chevron up

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Providing access to jobs, opportunities and career-long support in the creative industries for people from under-represented communities.

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ERIC | The Best Careers Advice App for Young People

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ERIC was created by long-time friends Mae and Sam, having always felt failed by the lack of career guidance they received.

What frustrated them most was how careers advice was so unbelievably dull and uninspiring. So they decided to disrupt careers education by creating an informal, engaging and safe space for Gen Z to take control of their career and teach themselves.

ERIC in it's first version was a series of career festivals to educate young people about the creative industries and connect them with creative employers.

ERIC Festivals grew to be the biggest career fairs for the creative industries.

When the pandemic hit, Mae & Sam pivoted to create The ERIC App - a digital vehicle to keep giving young people the career education they want.

Now ERIC is purely a digital platform - The ERIC App.

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About - ERIC | The Best Careers Advice App for Young People

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ERIC was created by long-time friends Mae and Sam, having always felt failed by the lack of career guidance they received. What frustrated them most was how careers advice was so unbelievably dull and uninspiring. So they decided to disrupt careers education by creating an informal, engaging and safe space for Gen Z to take control of their career and teach themselves.

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During the pandemic, the increasingly competitive job market has highlighted just how important it is to begin planning your career earlier on. Fortunately, our range of Future Ready Mentoring programmes offer you the chance to gain first-hand knowledge and insights into the world of work by being matched with a professional mentor.

We have a range of mentors from diverse industries, cultures and backgrounds who want to help you. They can equip you with the right mindset, share valuable professional insights, assist with developing your skillset and support the growth of your network, so you can tackle the working world with confidence. Open to both students and recent graduates (of the last three years), our long and short-term mentoring opportunities can help kickstart your career.
Career Mentoring Programme (Long-term Mentoring)
Our award-winning Career Mentoring Programme matches participants for a six-month or three-month long mentoring relationship. We have two intakes for the scheme each year with cycle 1 applications now open!

To take part, you will need to be able to commit to a minimum of five mentoring sessions over a six-month period between November - April. The application process involves an online form through Engage, and if successful, attending a mentee training session which will take place in October. Current students who complete Cycle 1 of the Career Mentoring Programme will receive 20 points towards the Westminster Employability Award.

Applications close on Sunday 10 October 2021 at midnight. You can apply via Engage now.

To find out more about how the application process, register for our upcoming webinar taking place on Friday 1 October, 12 - 1pm.

Please note, this programme is only open to current students studying in Level 5 or above and recent graduates of the last 3 years. Foundation and first year students of an undergraduate degree are not eligible to apply and should instead make use of the Ask a Mentor Service (see below).
Ask a Mentor Service (Short-term Mentoring)
Open to all students at any level (including foundation and first year undergraduate students) and recent graduates of the last three years, the Ask a Mentor Service offers you the chance to have a one-off conversation with one of our mentors.

This one-off mentoring session can be used to ask for career advice on a range of topics, for example, guidance on job/ internship search, application or interview preparation tips, or for asking industry-specific questions. Open all year round, you can make a request to have a one-off conversation with a mentor via Engage.

Current students who complete two one-off conversations through the Ask a Mentor Service will receive ten points towards the Westminster Employability Award.

We hope you make the most of these opportunities and feel inspired to start your mentoring journey and unlock your full potential!

If you have any questions please contact us at [email protected] or visit our Mentoring webpage.

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Join our Future Ready Mentoring Programmes - Apply for a career mentor now!

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During the pandemic, the increasingly competitive job market has highlighted just how important it is to begin planning your career earlier on. Fortunately, our range of Future Ready Mentoring programmes offer you the chance to gain first-hand knowledge and insights into the world of work by being matched with a professional mentor.

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Our Stories

"Arts Emergency helped me connect to other freelancers, who helped me connect to theatres."

Dominic from Bolton, is a freelance theatre technician. Mentoring helped him navigate networking after the lockdowns, and he's since worked on over 100 different performances.

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Our Stories "Arts Emergency helped me connect to other freelancers, who helped me connect to theatres." Dominic from Bolton, is a freelance theatre technician. Mentoring helped him navigate networking after the lockdowns, and he's since worked on over 100 different performances.

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Artist Mentor | Coaching for Artists & Creatives

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Artist Mentor provides bespoke mentoring and coaching services for artists and creatives, enabling them to realise their potential and goals.

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A leading provider of drone aerial film services operating internationally.

Established 2011, we specialise in the use of cutting edge UAV and stabilisation technologies to craft close aerials for film and television.

Our team really care about the work we do. We operate the safest, most reliable aircraft and stabilisation systems on the market and are proud to announce a brand new advanced level of super heavy lift payload capability with our latest aircraft addition in 2020.

Our crew is built on experience, with expert pilots and aerial camera operators who have thousands of hours experience behind them. Credits include 1917, Downton Abbey Movie, 355, Death on the Nile, Artemis Fowl, Maleficent 2, Hobbs and Shaw, Mission Impossible: Rogue Nation, Jack Ryan Seasons 1 & 2, Homeland Season 8, Brave New World, Bridgerton, Baptiste,many TV commercials and factual television productions including The Apprentice, Mary Berry's Country House Secrets and Ross Kemp Inside Barlinnie with unprecedented access for a drone inside one of Britain's highest security prisons.

Safety is our highest priority, we are congested area specialists, trusted by London Film Offices, Film London, CAA, NATS, Councils and 1 st Option Safety. We carry £10 million public liability.

Behind the scenes we plan shoots meticulously, working with productions to make sure every aspect goes smoothly, from testing bespoke camera payloads in advance to attaining international permissions and working with location safety.

International Permissions include Norway, Morocco, Spain and Colombia.

Get in touch. We'd love to work with you on your project.
See for yourself

+44 7702 967527
hello@thehelicoptergirls.com

Site by dtc

Fly

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Our Services | The Helicopter Girls | Drone Film Services

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Established 2011, we specialise in the use of cutting edge UAV and stabilisation technologies to craft close aerials for film and television. Our team really care about the work we do. We operate the safest, most reliable aircraft and stabilisation systems on the market and are proud to announce a brand new advanced level of super heavy lift payload capability with our latest aircraft addition in 2020.

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Drone operator working hours : 39 to 41 hours per week. You may work evenings and weekends

What qualifications do you need to be a drone operator?

Typical entry requirements You can get into this job through applying directly or through specialist courses run by private training organisations. If you apply for jobs directly, most employers will expect you to have experience of flying drones, with at least 40 hours of recorded flying time.

You could complete training approved by the Civil Aviation Authority. This lasts between two and four days and includes: UK air regulations, flight safety, flight planning, a theory test and practical flight skills assessment. You'll also have to write an operations manual describing how you are going to use your drone commercially. After successfully completing training, you can apply for the PfCO (permission for commercial operations certificate), which you need to fly drones for commercial purposes. You must renew the certificate every 12 months.
This information is a guide (sources: LMI for All, National Careers Service)

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How to become a drone operator: Carys' story

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Drone operator working hours : 39 to 41 hours per week. You may work evenings and weekends Typical entry requirements You can get into this job through applying directly or through specialist courses run by private training organisations.

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CARGO SITE

Your Student Program code has been generated for the 2023/2024: 3c2c33b4.
For new users:

Create a new account using your student email address and apply the code at checkout.

Upgrade an existing account:

To apply the new code, open the Settings tab (gear icon) in the Admin panel, then open the CargoAccount Settings menu and click on Site Upgrades. From here expand the relevant site upgrade, click on Add a payment method and select Use a Promo Code.

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Here are a few links to free website editing software and online creators -there are many more.

hep://www.weebly.com

hep://www.wix.com

hep://www.moonfruit.com hep://www.webs.com hep://wordpress.org heps://www.squarespace.com/

Lynda.com website training videos are now part of Linkedin learning. You can access this with your Westminster log in.

Here is a link to a Squarespace tutorial. heps://www.linkedin.com/learning/search? keywords=squarespace%20essen/al%20training%20the%20basics

There are also Dreamweaver tutorials on Lynda if you are interested but a free easy to build site should be all you need.

Training videos/tutorials/workshops are available on this link:

hep://www.westminster.ac.uk/study/current-students/support-and-facili/es/learning-and- study-skills-support/it-training

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Inspire. Access. Thrive.

We are a social enterprise providing career-long access, opportunities, support and training for people from under-represented groups, to make the creative industries reflect society.

Our impact to date

Our impact to date

Individuals say our support has had a significant impact on their career

Our partners attribute their progress in DE&I to their work with us

Our interns secure permanent creative industry jobs

How our inclusivity training scores in providing tools and knowledge to act on

We're making an impact

Read about how our work is helping individuals access careers and thrive.

See more

Arrow Icon Left Arrow Icon Right

Icon chevron up

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Providing access to jobs, opportunities and career-long support in the creative industries for people from under-represented communities.

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ScreenSkills DoP

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Film industry

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If you love taking photos and have an eye for a picture, you can put your photography skills to use in a variety of areas from advertising to social events

Photographers create visual images for an exceptional range of creative, technical and documentary purposes.

As a professional photographer, you'll usually work to a brief set by the client or employer.

Examples of content you could work on include wedding, family and baby, fashion, food, architecture, and landscape photography.

A large proportion of professional photographers are self-employed. You could also find work with a variety of employers, including creative businesses, publishers and photographic agencies, or in the education and public sectors.

Types of photographer

You'll usually specialise in one area of photography, such as:

advertising

corporate

editorial

fashion

fine art

social photography - also known as general practice, which includes weddings, commercial and portraiture photography.

See what becoming a specialist, such as a press photographer or medical illustrator, involves.

Responsibilities

Tasks vary according to the specialism you choose, but generally you'll:

work with clients to discuss the images they require and how they want to use them

seek out appropriate photographic subjects and opportunities

carry out research and preparation for a shoot

work in different locations and circumstances to get the right image

use an extensive range of technical equipment, including cameras, lenses, lighting and specialist software

communicate with photographic subjects to put them at ease, encourage them and direct them

arrange still life objects, products, scenes, props and backgrounds

liaise with other professionals, including graphic designers, writers, gallery managers, picture researchers, commissioning editors and art directors

manage the processing and use of images, discuss technical problems, check for quality and deal with clients' concerns

prepare proofs for approval

compile finished products for sale, such as albums and framed prints

understand traditional film and digital photography and keep up to date with industry trends, developments and new techniques

develop software expertise to digitally enhance images by, for example, changing emphasis, cropping pictures, correcting minor faults or moving objects around

manage the business aspects of the work, including administration, marketing, scheduling work, invoicing, basic accounting and website maintenance

develop a good portfolio, build a network of contacts and achieve a reputation for quality and reliability in order to secure future assignments.

As a graduate, you may start out as a photographer's assistant, working mainly on routine administration and helping out around the studio.

Salary

As with other creative professions, salaries vary widely. As a freelance photographer, your earnings are linked to what you can charge and how much work you can secure. For this reason, income is likely to vary from year to year.

Many entrants to the profession start as assistants, where salaries can be set at the national minimum wage.

In full-time employment, early career salaries are typically between £16,000 and £22,000.

Salaries can increase to anywhere from £25,000 to £65,000. The top end of the scale is typically for those who have a strong reputation and are highly sought-after, which takes years of experience.

Freelance and self-employed photographers often supplement their income with other related activities, such as giving photography lessons.

Income figures are intended as a guide only.

Working hours

Hours can be long and unpredictable and may be led by demand. For example, wedding photography will be at its busiest in the peak spring/summer wedding season and sports photography will require you to work weekends and evenings to cover fixtures and events.

Freelance photographers may have periods of working at maximum capacity followed by times when there is little or no work.

What to expect

Working conditions vary depending on your assignment and can involve all weather conditions, remote locations or cramped studios. In certain fields of photography, such as documentary, work may also be dangerous, particularly when on assignment in war zones or unstable countries.

You may need a reasonable degree of fitness for some areas of work, such as sports photography - which involves the use of bulky and heavy telephoto lenses and equipment.

Work for some areas of photography, like fashion, may be concentrated in London and a few other large cities. Corporate and social photography work is spread across the country.

Job security is not high, especially in the early days when you still need to establish your reputation and a solid client base.

Travel is an integral part of many specialist photographers' lives and may include travel within the UK and overseas.

MA Photography

Develop a career in photography through the process of innovation and experimentation

Qualifications

You can become a photographer without a degree, but in many instances having a degree or equivalent professional qualification is an advantage.

You could study for a degree in the following relevant subjects:

The content of photography courses varies considerably. Some have a strong emphasis on fine art and the study of photography as an artistic endeavour, whereas others have a more commercial focus and cover managing a business, professional ethics and marketing.

Digital imaging and other technological developments now form a significant part of many courses. Those that offer work placements and promote contact with industry can be particularly useful in helping you to secure future job prospects.

A postgraduate qualification is not necessary, although entry to the more competitive specialist areas, such as fashion, advertising and photojournalism, can be more challenging so a higher degree may be helpful.

Search postgraduate courses in photography.

Skills

You'll need to show:

excellent technical skills, using digital and non-digital cameras and industry-standard software such as Photoshop

creativity and an eye for a picture

personality, perseverance, patience and dedication when working on projects and briefs

strength in working under pressure, juggling workloads and meeting deadlines

the ability to work both independently and in teams, building rapport with clients, colleagues and other businesses.

Work experience

When applying for photography work, you'll need a professional and impressive portfolio, which could be online, a traditional 'book' or on a CD or memory stick. It can contain tear sheets, if available. Whichever format you choose, your portfolio must be:

relevant to the chosen area

well-presented

constantly updated.

You'll therefore need to gain significant work experience to build this up. Volunteering, work shadowing and project work with photographers or relevant employers are great ways of gaining experience and skills, as well as making contacts. You should take any opportunity to have your work published.

Joining photographic societies, visiting exhibitions and galleries, looking at photographs in books and magazines and finding out as much as possible about any specific fields of interest will all be useful.

You can gain Association of Photographers (AOP) Student membership to access to a network of students, assistants, photographers and agents. The AOP also runs student awards, where you can showcase your work. Explore the benefits of joining at AOP - Membership.

Find out more about the different kinds of work experience and internships that are available.

Employers

Press and medical photography are two of the main fields of employment for photographers but other organisations also offer permanent work:

The police employs forensic photographers to take 'scene of crime' and forensic photographs. This work may incorporate videography and is not for the squeamish. Further details are available from individual police forces. The Ministry of Defence (MoD) also employs qualified photographers.

Some museums have permanent photographers who catalogue exhibits and contribute to educational materials.

High street photographers and wedding/social photographers may take on trainees and assistants.

Commercial studios, which are a significant employer in the industry, are based mainly in London, but there are a few in other large cities.

Many large organisations, such as businesses, universities, local authorities and charities, employ staff photographers, who may also be involved in audiovisual or marketing work. There is a low level of staff turnover in these types of posts, so vacancies appear infrequently.

Cruise liners, holiday companies and theme parks employ photographers to provide a social photography service. Work is usually offered on a short-term contract and recruitment is generally handled through an agency.

Although magazines mainly commission freelance photographers, some also employ permanent staff photographers.

In all other work, whether you specialise in advertising, aerial, architectural, corporate, documentary, editorial, fashion, fine art, food, portraiture, scientific and technical, sport, sub-aqua or wildlife photography, you're likely to work for yourself - either as a freelancer, running a business or in a partnership.

As a freelancer, you can use a variety of means to generate work. Self-promotion and having a good contact network are key, but you could also use a photographic agent to source opportunities.

An increasingly influential market within the industry is the growing number of picture libraries and stock agencies. Further details are available from the British Association of Picture Libraries and Agencies (BAPLA).

Look for job vacancies at:

Many vacancies in this sector are never advertised, so using speculative approaches and your contacts is essential. Useful resources for this purpose include:

Professional development

In a profession where there's so much self-employment and freelance work, it's not surprising that training is largely on the job and self-directed.

Academic courses often contain a substantial practical element and this is a useful starting point. Numerous part-time courses are run by local colleges, including GCSE, AS and A-level courses, City and Guilds qualifications, diplomas and non-assessed courses.

Discussions, seminars, online exhibitions and workshops are offered by the AOP.

The Royal Photographic Society offers a range of qualifications and certified courses. You can become a Licentiate (LRPS), Associate (ARPS), and Fellowship (FRPS) member of the society.

The British Institute of Professional Photography (BIPP) also offers three levels of qualifications.

If you're thinking of setting up your own photography business, it's a good idea to undertake business training courses - especially those that cover marketing and promotion, copyright and contracts, and basic bookkeeping and financial management.

Career prospects

There are many different types of photography, so there's no standard, structured career development route.

It's likely you will begin as a studio assistant or assistant photographer and you'll be expected to learn by watching and to gain experience over time.

Membership with the AOP can help with career progression as you can promote yourself through its 'Find a Photographer' search facility. The AOP also offers a mentoring scheme, workshops and awards.

You could also work towards professional qualifications with the Master Photographers Association (MPA). These are offered at three levels: Licentiate, Associate and Fellowship. Find out more at MPA - Qualifications.

You'll be able to learn a great deal from the photographer(s) employing you, and will have the opportunity to develop a portfolio and to meet other photographers and stylists. You may also be able to borrow equipment or use studio space to develop your own work at weekends or during quiet times.

If you choose to specialise, the best way forward is to develop a range of skills and maintain a flexible approach. You can move between specialist areas if you have the right portfolio.

Entering competitions, trying to get your work into galleries and, above all, networking, will also help to boost your reputation and expand your client base.

Further into your career you could become a studio manager in a large photographic studio. Other options include becoming an agent, where you'll promote and sell the work of other photographers, or part-time teaching or lecturing.

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Discover what it takes to be a Photographer. Find out expected salary, working hours, qualifications and more.

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George McKenzie here again for PhotoShelter (check out my review of the Pentax K-1 a few months back). Lately, I've been helping organize our Third Thursday photo business chats here in the office - and a recent panel piqued my interest. The topic: photo assisting. I knew quite a bit about assisting as I'd done it before, but there's always something more to learn. And, this month, I learned a ton about being a Digital Tech. With a day rate ($350-$450) that's often more than even a 1st assistant, this job spoke to me. Who doesn't want to work smarter, not harder??

So, as one does, I found a friend of a friend who's worked as a Digital Tech quite a bit. Boyz Bieber, aka Boyz, has his MFA from UCLA and also has studied at a few technical schools. Which means he's got both the perspective of the artist and also a real understanding of the latest equipment and tech aspects of shooting. And he's done his share of Digital Tech'ing. Here's his rundown of the job:

The Tech Skills

Not surprisingly, Boyz cited Capture One as the singular most important piece of technology in his arsenal. It's designed specifically for tethered shooting and file organization, but it also has an amazing RAW file processor. While Photoshop operates on the same algorithms, Capture One incorporates similar tools with those of Lightroom - really filling in where the other two fall short for live shoots. To find training classes on Capture One, head over to Phase One's website here.

Then there's a whole host of other tools you need to know, including Lightroom and PhotoShop as some photographers work with those programs on-site. And, it's helpful to also know the major camera systems: Canon, Nikon, Sony, etc.

Boyzz's advice: Don't fake it. If you don't know the tech, don't take a job doing it. It'll show really quickly.

The Digital Tech's Job: Before, During and After the Shoot

In an ideal world, the Tech's job actually starts prior to the shoot. The photographer or art director should share the mood board so you can get a sense for the style and color look they want to achieve. You'll also weigh in on gear rentals, offering up a list of things like laptops, software and hard drives that are needed. Boyz prefers to use his own equipment where possible as he trusts it and can handle any special setup prior to the shoot itself.

The day of the shoot the Digital Tech should show up with plenty of time so he/she can set up their workstation which can vary in size depending on the scale budget of the shoot. Smaller more mobile shoots require a laptop with it's own tripod stand, while larger productions call for an entire rolling cart complete with a desktop and high-res monitor that's in area that is easy to access but out of the way.

After the Tech has the computer station setup, he/she will run through things with the photographer to make sure they're on the same page as far as software to be used and how they want to shoot (i.e. tethered to the computer or running memory cards back and forth, which software they prefer for organization - Capture One, Lightroom, etc.), etc.

Once that's established the tech should test the camera and all file transfer workflows to make sure everything is working - shoot a couple test shots, import the files, run a quick process on the files for color and contrast, and insure the images are being stored to the correct location. The Digital Tech generally stores everything to a main hard drive, as well as his/her own back up. Most photographers have a drive of their own which they'll also copy to throughout the shoot.

The number one concern of a Digital Tech is maintaining the images that get shot, so the more redundant backup the better. As the tech, you are responsible for the photographs being saved and accessible. So the pressure can be intense at times. If files go missing or a piece of gear goes down, people usually look to you because you are the "tech" expert. Boyyz's best advice is to study and be prepared for things to break. Research the gear you are renting if you can, have extra batteries for everything, bring every connection cord you can think of (because it's always the one you don't have that you need on set). Basically get ready for something to go wrong because something always will. Having WiFi on set can also be a life saver - i.e. having the ability to google answers on the fly and covertly fix the problem with the photographer before the client notices.

The number two concern is not holding up the shoot, so you have to learn to work quickly to achieve the look and feel the photographer wants. This is where doing your homework and following the mood board really helps. You should also keep an eye on the images themselves, helping catch anything that might be a mistake (light stands in the shot, cutting off hands/feet, or focus issues). Think of yourself as a second or third pair of eyes to make sure the photos are the best they can possibly be.

As the shoot goes on, the tech will organize the files for quick and easy access - separate folders for different outfits or make-up changes, or specific angles or cameras used depending on the type of shoot. That way anyone on the crew can come over to the workstation and quickly see what has been shot so far, and what still needs to get done.

Once the shoot is wrapped (or even during lunch breaks), the photographer and art director will typically take over the workstation so they can make selects. These days people need their photos ASAP so they'll usually get everything trimmed down before leaving set.

At the end of the shoot, the digi-tech will make sure all assets have been saved, copy over the whole shoot - RAW files, processed TIFF/JPEG files, and any software presets - to the both the photographer's and client's hard drives. Boyzz's personal practice is to also keep a copy of the shoot on his drive for 2 weeks following the shoot, should anything happen to either of their hard drives.

It's definitely not a small amount of work. And it requires a ton of tech knowledge as well as a knack for process and organization. But, if you've got these skills, it really can be lucrative. And, if you're good, photographers are likely to hire you over and over again, just like a 1st assistant.

Not bad. Not bad at all.

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The Job of the Digital Tech: What You Need to Know - PhotoShelter Blog

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A behind-the-scenes look at what it takes to be a digital tech on a photo shoot, from the basic skills to the job while on-set.

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Printmaker job profile | Prospects.ac.uk

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Discover what it takes to be a Printmaker. Find out expected salary, working hours, qualifications and more.

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© Copyright AGCAS & Graduate Prospects Ltd

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Fine artist job profile | Prospects.ac.uk

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Discover what it takes to be a Fine artist. Find out expected salary, working hours, qualifications and more.

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Finding Creative Jobs

Run the Check

Instagram Asssisting Work

Advertising Producers Association

The Dots

AOP assisting photographer (membership fee)

AOP Job Shop

Create Jobs London

Rate My Placement

Bright Network

Student Circus (Jobs and Internships for International students)

Behance

Creative Access (opportunities for under-represented individuals)

Target jobs

Arts Jobs

Creative jobs / The Dots

BrighterBox

Upwork

The Job Crowd

Creative Access

Creativepool

Glassdoor

Crowdskills

Bark (Freelance photography jobs)

Splento (Freelancing)

Snap Squad (Freelance)

ProjectSet

Freelancer Club

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Opportunities:

Talent Bank

You could find the different Skills Assessments here.

For research:

Westminster Careers Services

Westminster Engage Platform: Explore opportunities and pathways.

Links for professional development activities:

Westminster Engage Platform

Westminster Employability Award (highly recommended): Bronze, Silver and Gold.

Westminster Enterprise and Entrepreneurship Journey

Career Mentoring Program

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Upwork

Freelancer

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Additional Resources to find Creative Jobs and Career development:

Engage & Engage Plus

Prospect

Creative Lives in Progress

Bright Network

Create Jobs London

RedEye

Creativepool

Glassdoor

The Dots

The Umbrella Studios

Shape Arts (provides opportunities for disabled individuals wanting to work in the arts and cultural sector)

LinkedIn Learning with Westminster free login

Open University Free Courses

118 Student

Business IP Centre

BYP Network (Connecting Black Professionals)

Disability Rights UK

JobScan

Jobalytics

ResumeWorded

TagCrowd

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ØAcademy Photo: Academy Photo is known for representing photographers specializing in fashion, beauty, and advertising.

ØAngela Woods Agency: Specialising in advertising and commercial photography, this agency represents photographers, stylists, and hair and makeup artists.

ØArt + Commerce: A global agency representing a diverse roster of photographers, including renowned fashion and editorial photographers.

ØA&R Creative Agency: Known for representing fashion, beauty, and still life photographers, this agency connects photographers with clients in the fashion and advertising industry.

ØAt Rare: At Rare is a creative agency representing photographers and directors with a focus on fashion, beauty, and lifestyle photography.

ØAt Trayler: At Trayler is an agency that connects photographers with clients in the fashion and advertising sectors.

ØCatherine Collins: Catherine Collins is a photography agency with a reputation for representing diverse photographers in various fields, including fashion and editorial work.

ØClare Fletcher Represents: Clare Fletcher Represents is a creative agency known for connecting photographers and artists with clients in the fashion and advertising industry.

ØCRXSS Agency: CRXSS Agency specializes in fashion, beauty, and advertising photography, representing a roster of talented photographers.

ØDarling Creative Ltd: Darling Creative Ltd represents photographers and other creatives in the fashion and advertising industries.

ØDillon & Friends: Dillon & Friends is an agency known for representing fashion, beauty, and lifestyle photographers and artists.

ØDMB Represents

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ØD+V Management: Representing photographers, stylists, and set designers, D+V is known for its work in fashion and advertising photography.

ØEsser Associates : Esser Associates connects photographers and stylists with clients in the fashion and advertising sectors.

ØFemale perspective: Female Perspective is a creative agency that promotes and represents female photographers and artists.

ØShot by Woman: Shot by Woman is an agency that focuses on promoting and supporting female photographers and their work.

ØFlock: Flock represents a range of talented photographers, stylists, and other creatives in the fashion and advertising industries.

ØGermaine Walker: Germaine Walker is known for connecting photographers and artists with clients in the fashion and advertising sectors.

ØGill Turner: Gill Turner is a photography agency with a reputation for representing photographers specializing in fashion, beauty, and editorial photography.

ØJed Root: A global creative agency with a London office, representing photographers and artists across fashion, beauty, and advertising.

ØKaty Niker: Katy Niker is an agency known for promoting and representing fashion, beauty, and advertising photographers.

ØKayte Ellis Agency Kayte Ellis Agency is recognised for representing photographers and artists in the fashion and advertising sectors.

ØLucid Representation Lucid Representation is a creative agency specialising in fashion, beauty, and lifestyle photography.

ØLundLund: A creative agency with a strong presence in London, representing fashion photographers and directors.

ØM.A.P Ltd (Making Pictures): An agency representing a selection of photographers and directors, with a diverse portfolio including fashion, beauty, advertising, and more.

ØMetcalfe Lancaster Metcalfe Lancaster connects photographers and stylists with clients in the fashion and advertising sectors.

ØMini Title: Known for representing emerging photographers and visual artists, Mini Title specializes in art and fashion photography.

ØMiss Jones Agency Miss Jones Agency is known for its representation of fashion, beauty, and commercial photographers and stylists.

ØMorgan Lockyer Morgan Lockyer is an agency representing a diverse roster of photographers and artists in various creative fields.

ØPearson Lyle Management Ltd Pearson Lyle Management Ltd represents photographers and artists in the fashion, beauty, and advertising industries.

ØPeter Bailey Peter Bailey is a creative agency that promotes and represents photographers and artists specialising in various photography genres.

ØProcess Process is known for representing photographers in the fashion, beauty, and advertising sectors.

ØSARAHDAW SARAHDAW is a creative agency specializing in fashion, beauty, and lifestyle photography.

ØSilverlake Photography Silverlake Photography is known for its representation of photographers in fashion, beauty, and editorial photography.

ØSiobhan Squire Siobhan Squire is a photography agency with a reputation for representing photographers specializing in fashion, beauty, and advertising.

ØShotview Artists Management: A well-established agency with a focus on fashion and editorial photography, representing a range of photographers.

ØStudio PI Studio PI represents photographers and stylists in the fashion, beauty, and commercial photography industries.

ØStreeters: A global creative management agency with offices in London, representing top photographers and artists in the fashion and beauty industry.

ØSwerve Represents Swerve Represents is a creative agency known for connecting photographers and artists with clients in the fashion and advertising industry.

ØTrap Door Trap Door represents a range of talented photographers and artists in the fashion and advertising sectors.

ØTwenty Twenty Twenty Twenty is known for representing photographers in fashion, beauty, and editorial photography.

ØVue Represents: Focusing on fashion and advertising photography, Vue Represents represents photographers and stylists.

ØWyatt-Clarke & Jones Wyatt-Clarke & Jones is an agency representing portrait, documentary, and lifestyle photographers, with a focus on editorial and commercial work.

Ø24/7: Specialising in advertising and editorial photography, 24/7 represents a range of photographers, makeup artists, and hair stylists.

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For Full-time courses at degree level or above the following work is permitted:

part-time during term-time (up to a maximum of 20 hours a week)

full-time during official vacation periods as per the University Calendar, including the period before the course starts

on a work placement as part of the course -the work placement must be integrated and assessed as part of the course of study. These placements are approved by our Work Placements team.

Students who are allowed to work must not:

be self-employed/freelance

take employment as an entertainer or as a professional sportsperson, including a sports coach

More information can be found here:

https://www.westminster.ac.uk/international/visas-and-advice/visas/student-visa

If you have questions about academic progression or need to update or amend any details on your CAS, you can email us at visacompliance@westminster.ac.uk.

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Studios

London is home to several top photography studios that cater to a wide range of photography needs, from fashion and commercial photography to portrait and fine art photography. While the status of studios can change over time, here are some well-known photography studios in London:

ØShoreditch Studios

ØSunbeam Studios

ØThe Worx

ØHolborn Studios

ØBig Sky Studios

ØSNAP Studios

ØThe Factory Studios

ØHoxton Studio

ØMilk Studios

ØSpring Studios

ØOval Space

ØVillain Studio

Ø5A Studios

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Creative Boom is a leading UK art and design platform that delivers creative industry news, inspiration, insight and advice to six million creative professionals each year.

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Connecting our creative community with job opportunities across the industry.

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https://locationmanagers.org/

https://www.thelocationguide.com/

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This month saw Magnum Photos launching Beyond Magnum: an in-depth talks programme created to address and explore some of the challenges facing the photographic industry today. Through a series of free talks in chapters addressing Archives, Representation and the Future of Photography, speakers shared thoughts and engaged in debate across a range of issues. Each section was led by respected figures from the world of photography who invited an array of speakers doing critical work, ranging from practitioners to academics, to subjects of photographs. Below, read a summary of the events of the three chapters of the season and find links to re-watch the panels. Read about the aims of the programme and why it came together here.

Chapter I: The Content, Use, and Impact of Photographic Archives

This first chapter aims to explore the potentiality of the photographic archive through a series of case studies around and beyond the Magnum Archive. Through case studies aiming to identify and reflect on the common problematics linked to the nature of archives, each presentation will be followed by a discussion between the presenter and moderator. These case studies will include a personal photographic archive found in the suitcase of a Nigerian artist; the analysis of photographic documents relating to the anti-colonial Malayan Emergency; and the transition of Ernest Cole's archive to Magnum Photos. All these discussions will unveil a number of sensitive questions related to the archives: issues of ethics, ownership, presentation and access. In each case, we will seek answers from the perspectives of both vulnerability and strength. We will ask: how can we use storytelling as a strategy of working with archives? How can found photographs become the testimonial of a looted legacy? How can the relocation or the destruction of an archive repurpose its meaning? What learnings can we share with artists and institutions creating the archives of the future today. And what can be learned from the artists when we look beyond the archive?
- Azu Nwagbogu and Asya Yaghmurian

Azu Nwagbogu and Asya Yaghmurian chaired the first chapter of talks. The week consisted of an introductory talk with Nwagbogu, Yaghmurian, and Magnum president Olivia Arthur. This was followed by four 'case study' talks: Ana Briongos, Dr. Carmen Perez Gonzalez, and Moritz Neumuller explored the journey of Prince Emmanuel Adewale Oyenuga; Sim Chi Yin presented her work on the history of the Malayan Emergency, and was in conversation with museum curator and director Wayne Modest; the estate of Ernest Cole presented the rediscovery of works from Cole's archive; the Inge Morath Estate discussed the photographer's work and legacy; and Rafal Milach and Cristina de Middel discussed how they use archival materials in their artistic practice. Listen back to talks on Youtube here.

Chapter II: On Representation and Self-Representation

... who is representing whom? How are they going about it? What gives any photographer the right to construct a representation of an individual, group of people, situation, or issue outside of the realms of their own lived experience? How are we to view images made on assignment for the purposes of photojournalism or an NGO commission when they circulate in museums, galleries, and in other contexts they were not originally intended for? What questions should we ask of documentary photography when it is created for the art market? What responsibilities are incumbent on us all involved in photographing other people? And what role do institutions and networks play in showing us the way forward? ...
- extract from statement by Noelle Flores Théard and Anthony Luvera

Noelle Flores Théard and Anthony Luvera led the second week of Beyond Magnum talks. Its first day saw an introductory session from the chairs and a discussion between Susan Meiselas and Laura Wexler. On its second day, Tanya Habjouqa, Laia Abril and Andy Robert Coombes spoke about their own differing practices of representation. Three panels comprised the third day: Shahidul Alam, Kristen Lubben and Mark Sealy discussed the responsibilities of institutions to make change within issues of representation, Agata Kay - photographic subject of and collaborator with Bieke Depoorter - was in conversation with Anthony Luvera, and artists Mark Strandquist and Julian Germain tackled the question 'who's looking at whom?' in social practice together with visual sociologist Tiffany Fairey. Listen back to all of the talks from Chapter II here.

Chapter III: Towards a Future for Photography

Given the many profound challenges that the world is facing, what might photography's role be in facilitating a more coherent discussion about the potentials for positive change and healing? And given the extensive transformation of media in the current digital, "post-truth" age, what role can a photograph still be expected to play? Are we facing a renaissance in imagery, or a dystopia?
- Fred Ritchin and Zahra Rasool

The third and final installment of talks took place with chairs Fred Ritchin and Zahra Rasool kicking off three days of programming they co-produced. Their two talks at the beginning of the week explored the role of photographs and photographic 'tools'. The program continued on Tuesday with an exploration of technology's impact on images: Magnum's Thomas Dworzak presented his work on photographing Zoom gatherings and collating an archive of Instagram; photographers Joshua Irwandi and Samar Abu Elouf discussed the relationship of social media with reporting on the Covid-19 crisis and conflict in Gaza; activists Vanessa Nakate, Jamie Margolin and Isra Hirsi spoke about social media's impact on the climate crisis; and a panel of artists, Alexey Yurenev, Debi Cornwall, Josue Rivas and Marvin Heiferman explored the concept of the 'real' and 'unreal' in photography. Wednesday invited Ellen Tolmie to discuss the ethics of photographing children with Fred Ritchin. Donald Weber, Bill Gaskins, and Aperture's Sarah Meister joined Magnum president Olivia Arthur in a discussion about the future of photographic institutions. Finally, and Nick Bruckman, Lisa Osborne and Yasmin Elayat spoke about the meaning and limitations of representation in photography. Watch recordings of seven of the sessions here. (Note: Thomas Dworzak's talk is not yet available.)

Find out more about Magnum's educational programming - including free opportunities - here.

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Watch Now: Beyond Magnum | Magnum Photos Magnum Photos

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A series of talks sees Magnum photographers and key practitioners in the industry discuss the challenges facing image-making today

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Sean Willcox: Indian Encounters with Early Photography: Camera, Cannon, and the 'Exhibitionary Complex'

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A freelance career in the creative arts is a free badged course which lasts 8 weeks, with approximately 3 hours' study time each week. You can work through the course at your own pace, so if you ...

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Access to Finance

Accessing finance in the creative industries can be a tricky business.

The Creative Finance Network is specifically designed to help creatives understand the complexities of finance and find the money they need to make their ideas a reality.

It provides glossary fact sheets, run downs of the various sources of finance and sign posting to various funding and finance opportunities that are open to specific sectors.

For more information visit, http://creativefinancenetwork.co.uk/

Sources of creative finance funding

This brief guide sets out some of the sources of funding available to creative enterprises as well as useful contacts and information on tax reliefs.

Challenges funding & open calls

UK industry and research bodies can also apply for funding through the Industrial Strategy Challenge Fund and similar initiatives. You can also find information on funding for technology-driven challenges from Innovate UK here and Digital Catapult also runs open calls and events to foster innovation.

Better business guide

The creative industries collectively comprise the UK's fastest growing industrial sector - generating jobs quicker and with lower capital investment than any other part of the economy. The ability to access both equity and debt finance is one of the critical roads to growth for creative businesses. The online 'Better Business Finance' tool can help creative businesses find out who they can and should approach for funding.

Finance options for the creative sectors and information on managing your Intellectual Property can be found here.

Tax and HMRC

HM Revenue & Customs offers products and tools for small and medium-sized businesses that may be relevant to those in the creative industries.

These include:

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Accessing finance in the creative industries can be a tricky business. The Creative Finance Network is specifically designed to help creatives understand the complexities of finance and find the money they need to make their ideas a reality.

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Westminster Fashion offers nine BA and MA programmes spanning the full breadth of the industry — from design and menswear to marketing, business management, sustainability, and manufacturing. Based at the Harrow Campus, the department combines a legacy of radical creative education with the professional rigour demanded by the global fashion industry.

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Over 135 years of fashion education in London. Home to the Westminster Menswear Archive and notable alumni including Christopher Bailey and Vivienne Westwood.