Feature Friday 17th November 2017; Alex Mclaren

Today we are sitting down with second year Bachelor of Photography student Alex Mclaren to hear about his experience of the Obscura Festival of Photography and what he learned from such a unique festival.

Alex Mclaren, 2017

How was Obscura?
The trip was great, it was a really good experience not only in terms of participating in the workshop and the practical side of it but also an opportunity to work with fellow students in a social environment that nurtured a certain camaraderie.


Did you learn anything about yourself/photography?
I learnt a lot just through experience. Being taught by a renowned internationally working artist helped me to learn how to look at my work in new ways, and think about visual language from someone from a different cultural background. This helped me consider how my work can be viewed outside of my Melbourne bubble.


What was your favourite moment?
It’s hard to pin point any moments in particular but one highlight was jumping on a random bus in the city and riding it to the end of the line with no idea where it would take us. We ended up driving through the non tourist areas and got to see people living their daily lives outside of the backpacker region of Georgetown. The bus ended up taking us to Penang Hill, inevitably a tourist hotspot that overlooked the city and had lots of corny tourist moments but was extremely fun, all whilst in the search of photographs of course.


Who was your workshop teacher?

My workshop teacher was Wawi Navarozza, an artist/photographer from the Phillipines who was taught by one of my favourite photographers Martin Parr. She has studied and exhibited abroad and was a great mentor. She understood my approach and helped me to hone in on visual links and queues that elevated the work to a level I wouldn’t have reached on my own. It was also wonderful to have someone who didn’t always tell you what you may have wanted to hear, which is vital for growing as a photographer, as you can figure out what you need to do to improve.


Did it change your perception of Malaysia or photography?
I had little to no preconceived ideas about Malaysia so it was one big experience that has given me insight into another culture that I may perhaps never have visited on my own terms, simply because I didn’t know a lot about the place. The people in Malaysia are extremely friendly and I only had good experiences, the food is extremely cheap and delicious.


Alex Mclaren, 2017

During the workshop you created a series of work, was was it about?
My series was concerned with the reality of travelling and tourism and how tourism industry compares with the expectation one develops when visiting another part of the world and the moments that occur that may be underwhelming and banal.


How did you arrive at this idea?
I am working on a series as part of our photobook assignment which is basically centred on the same feeling and mood, so I chose to shoot something that would still represent this concept but link to my book. It was a way of building on that concept in an unfamiliar environment.


What were some of the challenges you faced?
Although the workshop was fantastic and Wawi guided me in developing the series to another level, a big thing I learnt was that you have to own your work and take authorship. Take advice from other people, consider it and see how other artists and photographers respond to your work. Take note, but always trust your own instinct. Don’t let the work become someone else’s take on your photography if it doesn’t reflect your overall intent. So that was a lesson I’m very thankful to have learnt, and I feel like I made the right decision in trusting my own intuition.

To see more of Alex’s work, follow him on Instagram 

Alex Mclaren, 2017

Feature Friday 4th November 2017; Antoine Loncle

For many of our second year Bachelor of Photography students who went to the Obscura Festival of Photography this year, they hadn’t been to Malaysia before, however one of our international students Antoine Loncle was born in Penang and was living there before he moved to Melbourne to undertake his studies at PSC. We sat down with Antoine to chat about his experience at Obscura and his perspective on his town.

Antoine Loncle, ‘ Put To Work’, 2017


How was the festival and workshop?
It was good. The workshops and the festival itself, two very different things, but both equally amazing. Just being in an environment so saturated with photography, photobooks and photographic conversation was an incredible experience.


What was it like going back to your hometown for an international Photography Festival?
When I first heard of the trip, it was a little disappointing to be honest, haha. It’s like there’s all these places in the world we could go but, guess what: you’re going back to a place you’ve been for 20 years. But as it got closer I thought it was alot more exciting. I got to introduce my new friends to my old friends, and show them around where I grew up. It was also like a little holiday back home for me as well. In retrospect I’m pretty happy that it was in Penang because I feel I got something extra out of the trip. Not just in the sense of going home for a bit, but it made me look at my home differently and to see it in new ways and I’m really grateful for that opportunity


Did you learn anything about yourself/photography?
My biggest take away was just experiencing so much in such a short time. I feel it really tested me, but in doing so also affirmed my love for photography and showed me what an incredible community the photo-world can be. I took away quite a bit from talking to Leonard about this folio. Mostly how to be harsh on yourself and really be strict, both when shooting and also when editing down the images. I also learned that Wawi is a mad DJ.

What was your favourite moment?
One of my favorite moments (in retrospect) was when I got roughed up and kicked out by security from a construction site I was shooting on. At the time it was infuriating if anything, I called my workshop teacher- Leonard– and when I told him what had happened he just chuckled and said: “Nice.”

Who was your workshop teacher?
“Leonard Pongo from Congo”. I more or less begged Daniel to put me on Team Pong. Mainly because it was a bit of a fan-boy thing, I love his work and alot of it resonates with me. He was great and I really valued his insight into how I can better my practice.

Did it change your perception?
The main thing that I felt was a bit of a turning point was the folio review. It was kind of intimidating at first but once it started it wasn’t too bad.  It was basically a photography speed date session. It was great having people from all over look at my work and give me feedback.


What was your series about?
My project was primarily looking at the rapid development of Penang through the “tools” used in these massive construction projects, i.e: the worker. In much of Asia, the workers are sourced from overseas and are often just regarded as cogs in the machine. That whole idea was what I wanted to look at and how I approached the topic photographically.


Antoine Loncle, ‘Put To Work’, 2017


How did you arrive at this idea?
It was something that had been on my mind for a while. Malaysia, like many other places in Asia are really starting to now have an influence on the world. To be more recognized they to develop; to develop they have to build; and to build, you need the builder. Through that thought process I knew I wanted the focus to be on the people who literally built the country, but are so often overlooked.

What were some of the challenges you faced?
My main challenge was actually the fact that I was from Penang in the first place. A lot of the trip was focused on how we would “experience new places”, but in my case, it was like having a walk in my backyard. I had to try to find a new way to look at what had been my home for most of my life. It was pretty tough initially, seeing the same things I had seen for years, but once I locked on to my project it was definitely easier.


What are you working on right now?
My work now is also based on Penang. I started the project before Obscura and was shooting it alongside the workshop. The current folio “I’ll Love You and Leave You” is something I’ve been shooting over roughly the past year and a half; it looks at the common notion that many Malaysians have where the ‘end goal’ of the vast majority is to move overseas to work or to study, and ultimately stay there

The project is my personal exploration into why many people look outward for change and a better life, rather than inward at the problems they’re trying to get away from. I interviewed a few people and asked a few friends and family some of their opinions: it’s mostly a government thing. There’s a lot of corruption, shady business going on and people are just fed-up to a point. Theres a lot of injustice in much of the system, as well as heavy censorship, any available scholarships are only given to certain races. Many just think the county is ‘un-savable’ I left cause that was always ‘the plan.’ from young you’re sort of already set in a path. People just tell you the usual “make sure you get good grades, so you can study overseas”. So it kind of just happened. But also because I believe that you only learn so much by being in one place. The way I see it, the ideal solution would be to go and learn, study, work abroad, but then come back and put all that knowledge to good use by making things better.

Antoine Loncle, “I’ll Love You and Leave You”, 2017


To see more of Antoine’s work and stay up to date, follow him on Instagram 


Mid Year Exhibition review

With a range of stunning work, our students have brought together family history, environmental issues, sports, fashion, and an array of people with stories so unique they often slip under the radar. Created by students in the Bachelor of Photography course, Advanced Diploma of Photography course, and the Pathway Program, our mid year exhibition is an amazing showcase of our talented and passionate students. Visit the college to see even more work!


James Thorn is a final year Bachelor of Photography student, majoring in commercial photography. James’ series ‘Found” is a photographic exploration of the life of a gold prospector, shot in a non-traditional documentary method, the series is an abstracted look at the average day of a prospector. Recently James was awarded a silver with distinction from the AIPP for his abstract work. Go to his website to see more of his diverse skill set or follow him on Instagram.


“Seeing Ourselves” is a series of introspective biographical portraits of women for women, which explores with playfulness and irony what it means and feels like to identify as  ‘woman’ and a ‘creative’, in the face of the ever-present ‘culture of domesticity’. Juliana Rudewych is a current Advanced Diploma of Photography student, she seeks to reveal the similarities and differences in the challenges and experiences faced by women today. Follow Juliana on Instagram 



Advanced Diploma of Photography student Luke Rush has centred his final year folio around the use of denim and sex appeal in fashion. Inspired by Beyonce’s Lemonade film (6 Inch Heels) Luke has utilised his skills in studio lighting to create a story line around his subject being hysterical from the isolation of the apartment in which the photographs are taken. Earlier this year Luke won his second silver award at the APPAs, read more about Luke’s practice here, or follow him on Instagram.



Second year Bachelor of Photography student Noah Thompson has once again created a wonderful example of his documentary skills by photographing the community of people who race pigeons in Victoria; “My desire (is) to create a documentary series around a small community of people who share in the same passion, while exploring individual personalities and stories”. With the approach of giving the subjects involved the appropriate level of respect, Noah has stepped back and allowed the viewers to draw their own conclusions about the sport and people involved. Read more about what else Noah got up to in 2017, or follow him on Instagram.




In June 2017, Ruby Henshall completed the pathway program to receive a Bachelor in Photography, following on from five years earlier when she graduated from our Advanced Diploma of photography. After making the decision to undertake a degree in photography, Ruby came back to PSC after working as a commercial photographer to work on a more personal, fine art project; in doing so she created “Re-Wild”. The series explores the complexities of nature and challenges the notion of ‘wild’, it examines how nature is capable of existing in forgotten landscapes called novel eco-systems, reclaiming and re wilding out of sight of humans. To see more of Ruby’s work, follow her on Instagram.

Feature Friday 20th October 2017; Clare Delaney

This week we caught up with Advanced Diploma of Photography student Clare Delaney to learn about her journey here at PSC.


Clare Delaney, 2017


What got you started in photography?

The earliest memory I have with photography is watching my father take photos on his Pentax K1000 in Lorne of waves crashing on the shoreline. I was around ten years old and was so fascinated. My dad wrapped his camera around my neck, taught me what he knew and said, “Now, go ahead, shoot.” Let’s just say it has been love ever since.

When you started at PSC, did you have an idea of the kind of photographer you want to become? 

I have always been the artistic type across a range of different mediums, so being an artist was always the end game for me. Art and free fluid creativity have always been the most interesting aspects of photography that I have connected to the most. At one point though, I was really interested in photojournalism. I found the idea of travelling and being a sort of detective was the appeal.

What is the most beneficial thing you have learned up to this point? 

In terms of photography, I would say is understanding light and analysing it in your own work. Lighting and studio classes at PSC really have taught me the most. You can never stop learning and applying different lighting techniques to your photos to make them sing. In terms of life, the most beneficial thing I have learnt is to be willing to take risks.

What has been your most challenging moment at PSC so far?

I would say the most challenging moment so far is really just beginning the final semester of my course. Knowing I only have a short time left at PSC is both daunting and exciting. I hope to take up every opportunity I can to push myself for the last part of the year. 

What has been your most rewarding moment at PSC so far?

In all honesty, I can’t choose a moment, I feel like it’s more of an overall feeling. I would say being surrounded in a creative environment and creative people. You are nurtured and it has allowed me to grow into the kind of creative person I have always inspired to be. The tutors are pretty amazing as well. The knowledge and passion they have to offer are so invaluable.

How has your style developed? What have you noticed is different? Your aesthetic? Way of thinking? Approach? 

Good question! I have always been fascinated by things that are dark, things of fantasy and dangerous things. I feel there is a true beauty in these things and the sublime. The more I learn, the more I find myself being in tune with this side of me. Instead of holding back, I am opening up and embracing all things that I am drawn to create. I think that that is the key, being in tune with who you are and always learning, researching and changing.

So far, what body of work have you been most proud of?

My folio from second year is work I have been most proud of. The purpose of the series was to raise awareness around mental illness and suicide. I feel the series holds an important message; you are not alone in your fight. I want to make a difference with my photography however that may be. I feel this body of work was my first step in doing so. I hope to continue work with this concept in the future.

What are you working on at the moment? 

Currently, I am working on a series relating to mortality. After death, we leave behind our story — the essence of who we are — in pages of diaries, the stories told by loved ones and the photographs taken.

Clare Delaney, 2017



What do you do when you’re not taking photos?

I try to maintain a social life and a work balance while studying. In my spare time, you can find me swimming, going to healthy alternative expos, training my Rottweiler for dog shows or watching Netflix. I am a bit of film buff too.

Where do you find your motivation?

My fire is what motivates me. I am an incredibly self-driven and passionate person. When I want to achieve something, there is no holding me back. Also, my family, they are great motivators and the biggest fan club.

Who/what inspires you?

I am inspired by my experiences, nature and dark gothic literature. Artists and photographers who inspire me are Van Gogh, Picasso, Jane Burton, Bill Henson and Yervant Zanazanian. There are so many others but those are the most significant. 

What is your dream job/shoot?

I had this actual dream once that I was taking a fashion editorial shoot for Vogue Magazine with Emma Stone and Johnny Depp. It was full on and the sassiest thing I had ever seen. That was a pretty cool dream… One day soon, I hope it becomes a reality, haha! I would also love to exhibit both in Australia and overseas. I can see myself living the artist dream, travelling and making a difference in society through my art in the future.



To see more of Clare’s work, follow her on Instagram 



Clare Delaney, 2017

Feature Friday 13th October, 2017; Sally Kaack

“ ‘Hear the dance, see the music’  is a quote spoken by the legendary choreographer George Balanchine, to describe the relationship between dance and music. In six words, he has articulated how dance visually expresses music, and what dancers should bear in mind when they perform. For many, dance is music made visible.”

This quote is by second year Bachelor of Photography student Sally Kaack as she introduces her folio ‘Revelations’; which explores the natural communicative abilities associated with dancing.



Sally Kaack, ‘Revelations’, 2017



Why did you choose to do photography?
I chose photography because of it’s natural ability to preserve a moment in time. I’ve always had an interest in art and it’s story telling capabilities. Therefore, using photographs to portray thoughts and ideas, as well as recovering the thoughts and ideas of historical artist was a great interest of mine.

What are you working on at the moment?
I’m currently working on a photobook titled ‘We Came As Children’ which photographically explores the relationship between the notions of home and memory – using the nature and benefits of photography as a medium to document and preserve. The project includes archival images that my grandfather took, along with my own images. The series touches on the ‘saudade’ a Portuguese word, meaning ‘the love that remains’.


Sally Kaack, ‘We Came As Children’, 2017

Have you done a body of work that you have found challenging?
I think every body of work is just as challenging. As you grow as an artist, you want to explore new concepts, and find new ways to portray them. This also comes with a higher expectation of one’s self but it’s always a fun challenge, especially when it all comes together at the end – even if not how you envisioned!

Is there a series of work you have done that you are particularly proud of?
I just took part in a small group exhibition, where one of my series called ‘Faded’ was exhibited. This was my first folio that I created last year. It was exciting and nice to share the area with fellow students. With each body of work, I constantly think of something I could have done differently so it’s always a constant strive.

What is your dream job/shoot? Future ambition?
I’d love to be an art lecturer one day. Something I’ve learnt at PSC is how important it is to share concepts and build from one another. I think it’d be extremely rewarding, helping others develop and flourish. PSC has been an exceptional environment in this regard. In the mean time, I enjoy working with dancers and I’d love to collaborate with some of my favourites – one day!


To see more of Sally’s work follow her on Instagram, or check out her website.



Sally Kaack, ‘The Hanger’, 2017

Malaysia Monday; Monica Wilmott

Wanderlust, that deep desire to travel to a place far away, is a familiar feeling in so many of us. What if you had the opportunity to travel overseas and do a workshop with renowned photographers, then sit down and have a drink and chat with them afterwards, all the while improving your photography? Of course you would go! That’s exactly what some of our second year Bachelor of Photography students did. We recently caught up with Monica Wilmott who went to Malaysia’s premiere photography festival; Obscura.


Monica Willmot, 2017


What did you learn about photography?
When I was in Malaysia I learned that photojournalism is something that I wish to explore more in my work. I had some interest in PJ before the trip, but after being there and meeting with (Leonard) Pongo, it is definitely something I want to try out more in the future.

What was your favourite moment?
I had lots of great moments but my favourite would have been seeing my work at the screening, it was really short but I just had this great feeling of pride.

Who was your workshop teacher?
Leonard Pongo, he was great at giving feedback and I feel like I clicked with him a lot.

Did it change your perception on anything?
Being over there made me realise how big the photography scene is in other countries, especially in Asia. Photography is more main stream and in a way more accepted and celebrated over there which I found really cool.

What was your work about?
My original plan before I went to Malaysia was to do a documentary series about a turtle sanctuary in Penang National Park. However Leonard gave me the challenge “Can you make it look post-apocalyptic, like turtles took over the world” which was something I really ran with in my series.

Monica Willmott, 2017

What were some of the challenges you faced?
The main challenge I think I faced was just time and navigating my way around an unfamiliar city. I also found it challenging to just focus on photography for an entire 2 weeks, but also being surrounded by like-minded people 24/7 was something I found really exciting; it was really good to have them around to bounce ideas off at all hours of the day.


Now back in Melbourne, in your second half of second year (over half way through the degree), what are you working on? 
For this folio I am currently working on a photojournalistic series focusing on abandoned farm houses in northern Victoria. I came to this idea because I live in an area that is constantly expanding, I often see farm houses that are full of history, being knocked down and replaced with new estates. My aim with this project is to show people how lovely some of these old houses are and in a way presvere them before they are gone. To find some of the houses I had to do some digging, I focused most of my research on looking at local reports, newspapers, some tourist information brochures and heritage listings for diffrent councils.


Monica Willmott, ‘Historic’ (working title), 2017


To see more of Monica’s work, follow her on Instagram.

Feature Friday 6th October 2017; Shelby Eade

Today we are featuring second year Bachelor of Photography student Shelby Eade and her experience at the Obscura Festival of Photography earlier this year.


Shelby Eade, “Pink”, 2017

How was your experience at Obscura? What did you learn about yourself or your photography?
It was good but it was intense, my workshop teacher was Wawi Navarroza. I learned a lot about my work flow, and my work ethic as a photographer, as well as how much work goes into every little thing. I also learned how to develop an idea and push it in a short space of time which was helpful to see what kind of drive you have to have.

What was your favourite moment?
My favourite thing was the end of the workshops, at the projection screening of what everybody did and created in those five days. We all came together like one big family.

Did it change your perception of photography?
It changed how I approach photography as a medium, I think more about my concept and how to approach the images themselves. Not just snap shots but thinking and planning for each image.


Shelby Eade, “Pink”, 2017

What was your body of work about?
My work was about the colour pink and my relationship with the colour itself. I looked at the colour and the architecture of the place I was in, finding the similarities between the buildings and my body-the familiar colours and shapes. At the age of six I begged for a Barbie pink room, everything had to be pink. As I grew older the stereotypical association with the colour pink of being weak and sensitive, caused me to dislike it.

Arriving in Penang the bold use of pink covering the buildings is what re-sparked my interest in the colour. The unfamiliar clash of strong shapes used with bold colours, are not common aspects within suburban Melbourne. Discussing ideas and bouncing things off of Wawi helped me push and develop my idea into what it became.

The main challenge I faced was the limitations of such a specific concept. I struggled trying to get it past just the colour, then when it came down to buildings and bodies, I struggled to make my body in the shape of the architecture.


Shelby Eade, “Maribyrnong/Mareingalk”, 2017

What are you working on right now?
My second semester folio. It’s about the Maribyrnong River, memory and home; I grew up near the Campaspe River and used to camp with my family along the Murray. Since moving to Melbourne, I’ve become homesick so I’m using the river as a reflection on my memories and my home.

This folio is a work-in-progress, how has it developed? How have you developed?
I’ve done a fair bit of research on the river and some pretty interesting things have happened. There used to be a meat packing business, and tea gardens; there is now a detention centre which you can see but can’t get to. I now also have more respect for the Indigenous history.


See more of Shelby’s work on her website.

Masters of Arts – Photography tutor; Kristian Häggblom

As the excitement for our new Masters of Arts – Photography program continues to gain momentum, we decided to learn more about the tutors who will be involved. Kristian Häggblom started working at PSC earlier this year, but has already made a lasting impression on the Bachelor of Photography students he works with.

Kristian Haggblom, ‘Queenstown’, 1998


How did your postgraduate studies further your photographic thinking?
Doing a PhD enabled me to concentrate on a long-term photographic project and ensure it was completed to the highest standard. Importantly, it taught me to think more critically about my own work and also write about it with much more clarity.

What advice do you have for undergraduate students?
As an undergraduate student I think you need to saturate yourself in photography and the themes you are researching – read, read, read. I also highly encourage students to experiment, learn the basics, but also break the rules.

Can you tell us about what you are presently working on?
I’m researching a bearded seal that lived in the Tama River in Tokyo for a time during 2002 and then disappeared.

What was the last exhibition or publication or curatorial project you worked on?
Earlier this year I collaborated with an Indian friend and photographer, Farhad Bomanjee, to curate an exhibition of my photographs made in Japan between 2000 – 2008. It was at his gallery in the Kala Ghoda Café in Mumbai and part of the extensive FOCUS Photography Festival.

What do you enjoy about working with graduate students?
Working with graduate students is inspiring as they are very passionate and often I learn from their in-depth research. It is also great witnessing breakthroughs in student projects, when the dot-to-dot process aligns and results become clear.

What’s the best thing about the environment at PSC?
The staff at PSC are all active in varying forms of photography and it is exciting to work in such an engaged an immersive environment.



Take a look at Kristian’s work on his website.


Feature Friday 22 September 2017; Leah Mitchell

Today we are featuring final year Advanced Diploma of Photography student Leah Mitchell who is one of our many mature-age students. Leah’s work has recently been picked up by Nude by Nature as she continues to experiment with studio lighting and product photography.


Leah Mitchell, 2017


What got you started in photography?
From a young age I would save up my pocket money, buy Kodak disposable cameras and take photos of my pets and friends. So the love of photography has always been there. I was a dancer for 18 years, so I was always in front of the camera but now I love being behind the camera.

When you started at PSC did you have an idea of the kind of photographer you wanted to become?
When I started at PSC, my dream job was to become a National Geographic photographer.

What is the most beneficial; thing you have learned up to this point?
If your heart is not in it, it will show in your work.

What has been your most challenging moment so far?
Most challenging moment would have to be my first folio presentation as I used to a have a fear of public speaking.

What about your most rewarding moment?
My most rewarding moment at PSC so far would have to be seeing my short film at the PSC Cinema night and then seeing it used for advertising of the Social Media course.

How has your style developed?
I feel my style has a commercial feel to it now, I do a lot of portraits and still life.

What is the body of work you are most proud of?
The body of work that I am most proud of is my still life series called ‘Seven Deadly Sins’ which was my folio for trimester 3.

Leah Mitchell, Seven Deadly Sins, 2017


What are you working on at the moment?
I recently did a Korean Fashion Shoot which was a collaboration with another photographer for MiranDay Designs. At the moment I have picked up a couple of jobs; I did my first newborn photo shoot, and also have a few family portraits lined up. For my final semester, I am working on a makeup folio inspired by the Wizard of Oz. I’ve actually got my own little studio in the garage at the moment that I’ve using to play with my still life work.

What do you do when you’re not taking photos?
When I am not taking photo’s you would find me in a shopping centre buying new products to shoot.

Where does your motivation come from?
My motivation comes from my passion and love of photography. I could not imagine doing anything else in my life.

What is your dream job?
My dream job is to be a fashion photographer and to see my work on the front cover of a magazine.


Leah Mitchell, 2017

To see more of Leah’s work, follow her on Instagram.

Feature Friday 15th September 2017; Kaitlyn Church

Today we are catching up with second year Bachelor of Photography student Kaitlyn Church who recently went to Malaysia’s premiere photography festival; Obscura in George Town, Penang. Kaitlyn was also selected as having one of the best projects in the Visual Document class, taught by Alana Holmberg and Bella Capezio.

Broken Wind, Kaitlyn Church, 2017

What was your visual documentary about?
A man named Stewart who repairs musical instruments in Thomastown at a place called Broken Wind. My brother and I grew up in band rooms, orchestra pits, and grand theatres. Music dictated our lives and we regularly opted to attend music lessons instead of actual class- often to the disgust of our other teachers. For me music was my means of escaping the stresses of day to day life when I played, I did not think of my worries, but was able to get lost in the rhythm.

What are you working on now?
I am in the middle of a series documenting a small town ‘Population of 7’ which is located in the Anakie Hills. This series documents the people and the landscape of Stieglitz. (It’s still a work-in-progress; I’m trying a few things at the moment but I haven’t decided on anything for certain yet)

Kaitlyn Church, ‘Population 7’, 2017

What are some challenges you have overcome?
I find every series I do challenging in some aspect. I actually started a completely different topic for this assignment but had to abandon it on the day due to terrible weather.

What series of work so far are you most proud of?
My series ‘Reborn’ which was recently on display at The Queen Victoria Women’s Centre is probably the one I’m most proud of. It was such a strange subject matter but I didn’t want to portray it as creepy-as these dolls are often deemed- and I think I was pretty successful in doing so.

Kaitlyn Church, ‘Reborn’, 2017

Do you have any plans for what you want to do with photography after studying?
I’m still not entirely sure where I want my photography to take me, I definitely have a strong interest in documentary and photojournalism so something along those lines would be great, but I don’t have any specific plans as of yet!

What was your experience of Obscura?
Obscura was fantastic! I worked with Leonard Pongo. It was challenging, but in a good way. It pushed me to produce work that is different to what I normally do, and change my practice; I can definitely see the changes since I’ve come back.

Did you learn anything about yourself/photography?
I went to Obscura with the intentions of doing something completely different to what I have done before, I wanted to challenge myself photographically. What I did not realise is how much it would push me in other aspects of my life. I was photographing people on public transport, which forced me to be more confident; especially when shooting.


Kaitlyn Church, 2017

What was your favourite moment?
The whole trip was fantastic, but I must say the screening was a standout moment. During the workshop week, I was always out shooting, so I didn’t get a chance to see what my peers were creating. Being able to view not only my own work on a large screen (which was an awesome experience) but to also see what everyone else had been doing that week was great! The quality of the work was outstanding- especially considering it was produced in a week.

Did it change your perception?
It was good to spend a week focusing on something completely different, and it has definitely encouraged me to approach my current work in another direction. I have been experimenting with some of the techniques I used to create that work, with the work I’m currently creating.

What was your work about? 
The work visually explores my habit of people watching especially on public transport.  I find it interesting how public transport brings together people who wouldn’t have been brought together in any other circumstance, and may never see each other again Whether it be the business man returning home from his 9-5 job who falls asleep as soon as he gets to his seat, or the tourist who only came up for the day, staring in awe at all the lights as the train pulls from the station.


Kaitlyn Church, 2017

How did you arrive at this idea?
I had been thinking about doing a project based on public transport for a while now. But I never really had the guts to pursue it. I was struggling to come up with an idea for my project for Obscura so I decided to finally continue with this concept.

What were some of the challenges you faced?
I’m not the most confident person or photographer, so jumping on a crowded bus with a large DSLR was not the easiest thing for me to do. Until this project I never noticed how loud a cameras shutter could be I was so scared someone would yell at me for taking their photo.


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