Banner: Catriona Dunnett, Loch Long, cyanotype

paul gorman: being there (2024)

“The grant enabled me to develop a series called ‘being there’ that has been in my mind for a few years. I made my van into a camera obscura and had previously explored making large scale paper negatives. For this series I wanted to expose directly on to Positive film in the landscape. The funding helped me to purchase and develop the film and to present the final work into a light box frame.

Throughout this period of production, I created a number of works that explored the old materials of photography that are becoming obsolete. I used expired film bought from ebay, that created some unexpected results; light leeks, weakened emulsion, development mistakes and elements of chance that was more apparent in the old materials of photography. The resulting images champion Analogue Photography in the face of digital perfection and shows the possibilities that traditional forms of photography still possess.

I learned throughout the process that I would need good preparation (loading boxes with film before making), organisation (when going out on shoots and deciding where to make work) and to use industry professionals when required. (to make the finished light panel).

I want to thank the Foundation in believing in the work and allowing me to develop this series further and helping me to engage in making again.”

gemma briggs

“I sought the grant in order to develop an artistic response to my father’s testimony of the making and dissemination of crime scene photographs in the 1980s and 1990s. The project aim was to collaborate with my father – a retired scenes of crime officer – to record his testimony and construct images which provide insight into the undocumented work of forensic photographers, using the Mamiya C330 that he undertook his training with. The grant was needed to cover the costs of film, processing, dark room access and materials and production of small edition of photo books, which would reference the books he previously created for use by juries in criminal cases.

Thanks to the support of the Foundation, I was able to undertake an extended period of project research (desk, interview and practical), create a series of final project images, collate and document an archive of objects and artefacts, develop a dummy book and begin to disseminate the project images through open call entries and portfolio reviews. I put in place the plans for the final production of the photobooks, with a riso print studio.

Thanks to the grant, the project has been developed significantly, taking a more detailed and comprehensive path than that which I envisaged 15 months ago when I made the application. It has been a challenging and rewarding process which has required me to develop my skills in project management, problem solving and collaborative working.”

darkroom at beach creative 2024

“This funding supported the delivery of a 4 day Photography focused summer school at The Darkroom at Beach Creative in August 2025. The summer school was aimed at children aged 11-16 who are living in Kent. 5 young people were selected from 11 applications.

The students explored a wide range of darkroom printing and alternative photographic techniques. They explored cyanotype, photograms, watergrams, 35mm film and printing from negatives.

The summer school concluded with a mini exhibition to celebrate their hard work. Their parents came to visit and it was documented for their portfolios.”

[Emily Rose Parris]

Student Testimonials:

“my favourite tecniques were taking photographs and printing them because i loved the result and the process”

 “I liked the pinhole cameras and think it would be interesting to see what would happen for a bigger hole and how it would change the aperture, exposure time, etc.”

 “I really enjoyed working with my peers and felt it was easy to be comfortable with everyone. My favourite part was seeing the creativity of other people and the different outcomes created. It was exciting to learn about the different ways everyone took and produced their images.”

 “Sharing our work around gave me some confidence to show my work to other people. Also, I think I'll try more workshops without a friend with me.”

 “I feel much more confident in my creative ability and in myself as i have learnt many new techniques, I also feel even more passionate about photography and excited about exploring future techniques. I believe i have personally developed in this because of the supportive peers and teacher.”

 “I am very grateful for this opportunity and i would like to thank you for being a great teacher and letting me be a part of this course😊””

Over The Wall Camp (2024)

“Over The Wall Camp (OTWC) enables seriously ill and disabled children, along with their siblings and parents or caregivers, to rediscover the joy and wonder of childhood. Our free-of-charge residential camps, supported by clinical professionals and volunteers, offer a safe environment where children are encouraged to step beyond their comfort zones, cultivate friendships, and build self-confidence through engaging and therapeutic activities. For OTWC’s Media Team, it is essential to portray the children as they truly are: children, rather than patients.

 With your support, camera equipment was acquired on 26th June 2024 in preparation for six therapeutic residential camps which took place between July-September and welcomed a total of 475 campers. Because of this funding, we were able to provide camera equipment to Media Volunteers at camp who encouraged the supervised use of the equipment by our campers. Volunteers guided and directed the campers in how to get the most out of their shots and acted as models so that campers could practice portrait shots as well as candid shots of their peers. The integration of photography into the camp day allowed campers to capture images of peers enjoying activities, achieving milestones, and celebrating successes. Photographs from the 2024 camps show children smiling, laughing, and creating cherished memories—moments parents often report having not seen in their children for some time.

Although each session lasts just one week, the impact of camp endures. Images and videos serve as lasting reminders of the campers’ abilities and achievements, allowing the spirit and memories of camp to live on long after camp ends. 2024 marked OTWC’s 25th anniversary, and images from these camp sessions have been displayed on our website and shared on social media. Select images will also decorate the walls of our new permanent residential camp site, which is currently under development and expected to open in 2026. Through this visibility, these photographs will inspire and encourage future campers for years to come.” 

fotonow (2024)

“The grant was sought to support a series of community photography workshops using cyanotype printing, aimed at engaging disadvantaged and disabled young people in Plymouth. The project intended to provide creative opportunities for young people through analogue photography, responding to environmental themes and the Planet Ocean exhibition at The Box. Activities were also designed to celebrate Plymouth’s National Marine Park status, introduce young people to camera-less photography, and support wellbeing through hands-on, mindful engagement with creative materials.

The project supported over 30 young people across several sessions, including:
• Care Leavers Week workshop linked to Planet Ocean
• A public pop-up cyanotype session at Plymouth Arts Cinema
• A beach-themed cyanotype activity with our Unlocked youth group
• A workshop with a SEND group at City College Plymouth
• A family learning session at Delamore Festival 1
• Creation of a giant collaborative cyanotype during Bideford Photo Month

The tactile, analogue nature of cyanotype printing always has a lasting impact. Workshops allow a calm, reflective enthusiasm among participants. This outcome led to us re-evaluating the role of analogue processes in our work and helped shape the development of our new Wellbeing Workshops offer”