# data[].attributes.body
After doing some research and investigating how I want this series to looking like, I have decided that the portraits I plan on taking should be taken in areas to do with travel. Bus station, train station, subway ect.

# data[].attributes.body
strikes got cancelled

# data[].attributes.body
Portraits at the train stations and bus stations???? would need to be careful though as i don’t think im allowed to take photos in the bus garage or the subway

# data[].attributes.attachment_link.readable_text
The project Listen focuses on women singers who are not allowed to perform solo or produce their own CDs due to Islamic regulations in effect since the 1979 revolution. The photos are taken of the professional women singers performing in their mind in front of a large audience where in reality this was taking place in a small private studio in downtown Tehran. Subsequently, in my mind I made a dream cover CD for each of the women which was my own interpretation of the society I live in and experience, however, the CD cases will for now remain empty.

# data[].attributes.attachment_link.title
Listen: Giving Voice to Iranian Women * Newsha Tavakolian * Magnum Photos

# data[].attributes.attachment_link.description
The project Listen focuses on women singers who are not allowed to perform solo or produce their own CDs due to Islamic regulations in effect since the 1979 revolution. The photos are taken of the professional women singers performing in their mind in front of a large audience where in reality this was taking place in a small private studio in downtown Tehran.

# data[].attributes.body
or i could create a mixture of imagery and then create a series that uses a mixture of portraiture, cityscapes and still lifes

# data[].attributes.body
could create a series of Typologies

# data[].attributes.body
i had also thought of creating a Typology of people similar to antoine d'agata

# data[].attributes.body
also train strikes

# data[].attributes.body
shows how people have different journeys in life

# data[].attributes.body
i had already thought about creating a typology of keys which may fit in well. the keys symbolise how women defend themselves when walking home

# data[].attributes.body
Create a typology of tickets??????

# data[].attributes.body
also links to how in Glasgow there is COP26 and how it is effecting traveling to and from Glasgow

# data[].attributes.body
Emphasises how people can feel unsafe getting home.

# data[].attributes.body
Illustration of train tickets. each destination was HOME. i will link it if i can find it again

# data[].attributes.body
For this project i want to photograph a mixture of portraits, land/cityscapes and still life. I think the mixture of imagery will be the clearest way to show the story of the struggles of women in the United Kingdom.

I want to contact Strut Safe as i believe that what they are doing is amazing, extreme however it is necessary in todays society. I believe that I can learn a lot from the people who work there and i may find a specific story to tell from working with them. They also may be able to put me in touch with other organisations.

Once I have been in contact with the people from strut safe i will have a better idea of what this series will look like.

# data[].attributes.attachment_link.title
Photographic Works - Lorna Simpson Studio

# data[].attributes.attachment_link.readable_text
eople said something had changed with the awful death of Sarah Everard. But the message certainly hasn't reached the men who rape, harm and kill women. And I can't see a difference in the government, police, Crown Prosecution Service or the judiciary either.

Since Sarah Everard was abducted, raped, murdered and, in the words of her mother, "disposed of as if she were rubbish", at least 81 other UK women have been killed in circumstances where the suspect is a man. It is absolutely ludicrous that we know this because of my work, a random northern woman in east London, not the government, not the National Police Chiefs Council. Each of these women will have died in terror and pain, just like Sarah. Each one leaves behind grieving friends and family for whom the loss will last a lifetime.

It is significant that Sarah was killed by a serving police officer, but I wish the suffering of these women, and the anguish of those who loved them, were not accepted as normal and inevitable.

Sarah Everard. Photograph: Metropolitan Police/Reuters

Men's fatal violence against women cuts across all sections of society, across ages, class and ethnicity. But some women are afforded more empathy than others. Some are more likely to be disbelieved, to be blamed, to be sent away without the help they need. This appalling hierarchy of victims continues into death. It is almost always the young, conventionally attractive, middle-class white woman killed by a stranger, the perfect victim, that makes the front pages. Not the 50-year-old from a council estate in Leicestershire, killed by the father of her children after a 30-year marriage, where her life and dignity have been chipped away, little by little, every day. Perhaps until she found the strength to leave him and he chose to exercise the ultimate form of control. I want every woman's death to be a reason for soul-searching.

I started Counting Dead Women in January 2012, after the murder of 20-year-old Kirsty Treloar, who had been referred to the charity of which I am chief executive, when she was trying to leave her violent boyfriend. A year and a half later, Clarrie O'Callaghan and I had our first conversation, one that would lead to the development of the Femicide Census. We've made Freedom of Information requests going back to 2009 about men's fatal violence against women. From this we've identified that 62% of women killed by men are killed by a partner or ex-partner, and that at least a third of these women were in the process of leaving, or had left him; that teenage girls, as well as women in their 80s or 90s, can be killed by men who were supposed to love them; that 92% of women who are killed by men are killed by someone they know. One in 12 is a woman who is killed by her son.

Black women are disproportionately victimised, yet more likely to receive a sub-standard response from state agencies. And Sarah Everard was the 16th woman to be killed by a serving or former police officer since 2009.

Has something changed since Sarah Everard was abducted, raped, murdered and disposed of by Wayne Couzens? The government has published the third national strategy to tackle violence against women that doesn't name men as the perpetrators in the title. It names high-profile victims in the introduction but doesn't name femicide.

It is a folly if we set an ambition to end men's violence against women and girls if we cannot name women as disproportionally the victims and men as overwhelmingly the perpetrators of sexual and domestic violence and abuse.

The Observer and Femicide Census's End Femicide campaign is important. The media plays a huge role in shaping people's attitudes and understanding and it is to the Observer 'scredit that it is looking at femicide in depth. Femicide is not just homicide of women by men, it's about how and why women are killed and how this is different from when men are killed.

Understanding this is a key step towards ending femicide.

The 81 Women allegedly killed by men since the murder of Sarah Everard

Data compiled by Karen Ingala-Smith on her blog Counting Dead Women

# data[].attributes.attachment_link.description
eople said something had changed with the awful death of Sarah Everard. But the message certainly hasn't reached the men who rape, harm and kill women. And I can't see a difference in the government, police, Crown Prosecution Service or the judiciary either.

# data[].attributes.attachment_link.title
Barbara Kruger - Feminist Artist - The Art History Archive

# data[].attributes.headline
We The People: Street Views of Trump’s Inauguration and the Women’s Marches

# data[].attributes.subject
We The People: Street Views of Trump’s Inauguration and the Women’s Marches

# data[].attributes.attachment_link.readable_text
At noon on Friday, January 20th, 2017, Donald Trump was sworn in as the 45th President of the United States. Hundreds of thousands of people traveled to Washington, DC over the course of the inauguration weekend. Some were there to welcome the incoming president and others to voice opposition to his rhetoric and policy proposals.

Friday's inaugural events included the swearing in ceremony, a concert, and a traditional parade led by the president. Though anti-Trump demonstrations took place during these official events, Saturday's Women's March drew the largest crowd. The march was an effort to send a strong message to the new administration regarding women's and human rights.

According to US Uncut, attendance for Saturday's women's march numbered at least 500,000, and satellite events across at least 500 US cities brought the total number of US protestors to over 3.3 million people, in "what may have been the largest demonstration in US history," according to Vox. Further demonstrations took place globally, with an estimated 100,000 attendees at London's event, and 3,000 in Paris.

Magnum photographers captured the weekend's events: Larry Towell photographed demonstrations that turned violent on inauguration day. Matt Stuart and Susan Meiselas captured scenes at the women's march in Washington DC, while other photographers shot satellite events around the world, such as Chien-Chi Chang and Chris Anderson in New York, Alex Webb in Chicago, Thomas Dworzak and Jerome Sessini in Paris, Olivia Arthur in London, John Vink in Brussels, and David Hurn in Cardiff.

# data[].attributes.attachment_link.title
We The People: Street Views of Trump's Inauguration and the Women's Marches * Magnum Photos Magnum Photos

# data[].attributes.attachment_link.description
At noon on Friday, January 20th, 2017, Donald Trump was sworn in as the 45th President of the United States. Hundreds of thousands of people traveled to Washington, DC over the course of the inauguration weekend. Some were there to welcome the incoming president and others to voice opposition to his rhetoric and policy proposals.

# data[].attributes.body
These portraits have all been taken in different ways and in different locations, however they look consistent, they could easily be part of the same body of work.

I love how Margaret is able to photograph her subjects and how she can portray the story she is wishing to tell.

# data[].attributes.attachment_link.readable_text
To be without a permanent home is both a tangible and an emotional experience, where the necessity for safety and security accompanies a need to belong. In An Ordinary Eden, individuals across Scotland offer an insight into the practical and psychosocial impact of past or current homelessness on their lives.

'Home' can be both a sense of comfort - inside one's mind and place of residence - and a connection on the outside, in a community. It is belonging to something larger than oneself whilst having security and hope for a better future.

In this work, each individual's idea of 'home' is not a wish for a future idealised scenario, an unattainable fantasy. Rather, it is the ordinary, the everyday that is sought: safety, security, stability.

This work is rooted in an appeal to our basic humanity, our compassion. That the impact of being without a home - in all the ways that can happen - is understood not only in an immediate practical manner but also on an emotional level. The need to belong and have meaningful connections with others. We should all be able to do that in a society that cares, in a society that works for all.

This is not a search for utopia, an unreachable fantasy. It is the simple wish for a regular life. A pursuit for each individual's Ordinary Eden.

I began working on An Ordinary Eden in 2019 leading on from topics explored in previous projects. I wanted to further reflect on people's sense of home and belonging. More so, I wanted to look at what happened when the ability to have a stable home and sense of place was interrupted by circumstances, when life's journeys were somewhat complex and imperfect, when we don't always lead a life we thought - or hoped - would happen.

Specifically, when 'home' becomes a place of transience, when accommodation is temporary, what are the practical implications and emotional ramifications that being without a permanent home creates? Were there traceable roots, obvious patterns and how did society treat those in need?

All the people photographed had different stories on housing and home. All have been homeless at some point; some still were throughout the project. And all had different paths that brought them to their present, with histories that were multi-layered, complex, and nuanced.

Over the 4 years of An Ordinary Eden, I met people whose childhoods had been unstable, or who had experienced profound inequality. Others had needs for mental health or addictions that required a joined-up approach of current systems of support. Other stories came from places of enforced escape, to save their lives in some cases. From individuals fleeing years of domestic abuse to escaping a war zone and forced migration. To not have a home happens for many reasons, how society responds is the focus in this work. What was clear was the amount of time - the years - that people were in these situations. And it was quite apparent that it was needless years lost because support was not adequate.

So, I could ask myself, if there were patterns or traceable roots, but in some ways the more important finding was that the systems as they stand in society do not work fast enough or with the dignity and compassion that every human deserves.

Thanks are due to the many people I met and photographed throughout this work, for the generous sharing of stories with me, and for the time we spent together. It has been a privilege to be part of that.

# data[].attributes.attachment_link.description
Margaret Mitchell is an award-winning Scottish documentary and portrait photographer who lives in Glasgow. Projects range from exploring communities and children's worlds through to the long-term documentation projects on environment, opportunity and social inequality. She has exhibited widely and h

# data[].attributes.body
This series explores Frances changing landscape and how it is impacting the young people who live in the area.

I like the simplicity of the photographs and how the people in the images are small and it makes it appear as though they are being dominated by the landscape.

# data[].attributes.attachment_link.title
Psychogéographie * Antoine D'Agata * Magnum Photos Magnum Photos

# data[].attributes.attachment_link.description
Documenting France's urban transformation, Antoine d'Agata's book 'Psychogéographie' explores the relationship between Marseille's changing cityscape and the teenagers who live there

# data[].attributes.attachment_link.readable_text
DID YOU KNOW?
It is estimated that for the year ending March 2020 there were 773,000 adults aged 16 to 74 years who were victims of sexual assault (including attempts) in the last year, with almost four times as many female victims (618,000) as male victims (155,000).

In the UK, 1 in 4 women will experience domestic abuse and 1 in 5 sexual assault during her lifetime.

almost half (49%) had been a victim more than once

fewer than one in six (16%) reported the assault to the police and of those that told someone but not the police, 40% stated embarrassment as a reason, 38% did not think the police could help, and 34% thought it would be humiliating

more than four in ten (44%) were victimised by their partner or ex-partner

over half (54%) said the perpetrator used physical force, such as holding them down, to make them have sex with them, and 6% said the perpetrator had threatened to kill them

# data[].attributes.attachment_link.description
It is estimated that for the year ending March 2020 there were 773,000 adults aged 16 to 74 years who were victims of sexual assault (including attempts) in the last year, with almost four times as many female victims (618,000) as male victims (155,000).

# data[].attributes.attachment_link.readable_text
On Friday, more than 500 people joined a vigil in Pegler Square during which the teacher's sibling Jebina Yasmin Islam told the crowd she had "lost an amazing, caring, beautiful sister, who left this world far too early".

# data[].attributes.attachment_link.title
Sabina Nessa: Man arrested on suspicion of murder

# data[].attributes.attachment_link.description
On Friday, more than 500 people joined a vigil in Pegler Square during which the teacher's sibling Jebina Yasmin Islam told the crowd she had "lost an amazing, caring, beautiful sister, who left this world far too early".

# data[].attributes.attachment_link.readable_text
The abduction of a woman from a busy London street at night-she was later found dead-has triggered an upsurge of anger from women about the threats and intimidation they face as they go about their daily lives. The case prompted the U.K. government to lay out a plan to improve safety, including more money for better lighting and more security cameras, and a pilot program to send undercover police to clubs and other night spots.

Who is Sarah Everard and what happened to her?

Sarah Everard, a 33-year-old marketing executive, left a friend's home in the Clapham neighborhood of London at 9 p.m. on March 3 to make her way back to her apartment in nearby Brixton. The walk should have taken her 50 minutes. She chose well-lit streets and spoke with her boyfriend by phone. She did many of the things women are advised to do to improve their safety, yet she didn't make it home.

Who is accused of killing her?

A 48-year-old serving police officer named Wayne Couzens was arrested and on March 12 was charged with Ms. Everard's kidnapping and murder. A plea hearing has been set for July 9, with a trial slated to begin in October. Mr. Couzens previously worked as mechanic with his family's auto repair business and his duties with the London Metropolitan Police included guarding foreign embassies, for which he was issued a gun.

Has a body been recovered?

After an exhaustive search, human remains found in a wooded area in Kent, southeast of the capital, were confirmed on March 12 to belong to Ms. Everard. Police divers are continuing to search a nearby river and a local drainage system for evidence, including Ms. Everard's cellphone.

What are the protests about?

Women across the U.K. were infuriated by the abduction and killing of Ms. Everard. Many shared their own experiences of harassment on streets or public transport and are demanding more protection. Others shared tips on how women can protect themselves, such as clenching keys between their knuckles or using their smartphone as an alarm. Much of the conversation has revolved around what men can do to make women feel more at ease, such as crossing to the opposite side of a road if they find themselves walking behind a woman at night. A number of vigils for Ms. Everard were also organized for the evening of March 13.

# data[].attributes.attachment_link.title
What Happened to Sarah Everard? The London Woman Whose Death Prompted a Safety Debate in the U.K.

# data[].attributes.attachment_link.description
The killing of a woman who was abducted from a busy London street at night has triggered an upsurge of anger from women who are tired of the threats and intimidation they face as they go about their daily lives.