f or LONDON INDEPENDENTPHOTOGRAPHY or LONDON 37 STORYTELLING £4 Published by for LONDON INDEPENDENT PHOTOGRAPHY Satellite Groups Small informal groups meet approximately once a month to discuss each others’ work, plan exhibitions and just share ideas. As groups are independently organised by members, the structure, content, times, dates, and frequency of meetings are left to the individual groups to decide for themselves. Contact an organiser for more details about a specific group: Central London Hugh Look - [email protected] Crossing Lines Editor’s Note 4 John Levett - [email protected] Crouch End Letter from... Chatsworth Road Jørn Tomter 4 Eva Turrell - [email protected] Ealing MY WAY Robin Segulem - [email protected] #37 Storytelling, Summer 2017 Greenwich Cover image Neenad Arul John Levett - [email protected] Ophelia Nicola Jayne Maskrey 6 Back Image: Shameela Beeloo Kingston upon Thames Matthew Green - [email protected] 8 How I see Things Jo Stapleton 8 London Independent Photography is a community organisation Putney of photographers from different backgrounds and levels of Andrew Wilson - [email protected] expertise who wish to develop their individual approach to Queens Park Beyond the Divide Anne Clements 10 photography. The group was founded in 1987 as an informal Simon Butcher - [email protected] gathering of like-minded photographers, and has since grown Ruislip Metroland Two Women: Friendship C. Park/D. Green 12 to over 600 members. Not-for-profit and run by member Robert Davies - [email protected] volunteers, LIP comes together to offer a programme of Shoreditch workshops and talks, and to produce an annual group exhibition. Roland Ramanan - [email protected] FEATURES www.londonphotography.org.uk West Wickham Sam Tanner - [email protected] The magazine for London Independent Photography is Whiteness Stefanie Reichelt 14 published three times per year with the aim to showcase Contact Details members’ work and to engage readers in a wider dialogue [email protected] Decoy Peter Sturgeon 18 concerning diverse approaches to photography. It is funded 26 entirely by annual membership fees, contains no advertising Submissions are welcome online and selections for publication In Focus: Phyllis Dooney 24 and is free to members. are made solely at the Editor’s discretion. No responsibility or liability is accepted for the loss or damage of any material or The photograph that inspired me Éanna de Fréine 34 Membership for those received after the submission deadline. Annual Subscription: £29 UK / £34 Outside UK THEME Application details are online at All rights reserved. No part of this publication may be www.londonphotography.org.uk/joinLIP reproduced in any material form (including photocopying or storage in any medium by electronic or mechanical means) How we see: Storytelling 35 Submissions without written permission from the copyright owner. The theme for the next issue is URBAN Applications for the copyright owner’s written permission to reproduce any part of this publication should be addressed Submissions are accepted online, for guidelines go to BACKFLIP www.londonphotography.org.uk/magazine/submit to the publisher. The views expressed in this publication are not necessarily the views of the publisher or the editors. The Editor publisher and editors accept no responsibility for any errors or Frank Orthbandt for the results of the use of any information contained within Beyond Seeing Stefanie Reichelt 56 [email protected] the publication. Copyright London Independent Photography, 2015. All photographs in this publication are copyright of the Exhibition Highlights 60 Deputy Editor photographer and articles are copyright of the writer, unless Chris Moxey otherwise indicated. Exhibition Review 62 Printed in the UK by THE MAGAZINE PRINTING COMPANY plc, www.magprint.co.uk Contributing Editor Festival Review & LIP Matters 64 Ingrid Newton Turning Point Alan Eglinton 66 Artwork and Layout Frank Orthbandt Contributors 67 51 LETTER FROM... Editor’s Note Letter from… Chatsworth Road By Jørn Tomter ‘Sometimes you can tell a large story with a tiny subject’ ~Eliot Porter tory telling is at the heart of photography. Whether we take a portrait, a street scene, or even a landscape or photographic image we tell a story about this place - hen I started my I Love often the story of our own connection and Chatsworth Road project in interpretation. 2010, I’d just become a dad, and S I was looking for a project close Visual Storytelling through photography has always to home so I could spend time been at the heart of fLIP and indeed London Indepen- with my son. We had just bought dent Photography. We’ve been searching for image Wour place and the first time I walked down the street I sequences that in combination tell us a bigger story fell in love with Chatsworth Road. It felt like nothing than individual images… and so continuing our had changed for decades but I had a strong feeling this editorial tradition for this theme, we present stories area would change rapidly over the next few years. of friendship, family relations, encounters with strangers and our environment, captured in a visual For a long time I’d been wanting to document the narrative. There are ‘short stories’, detailed interac- neighbourhoods I lived in, but never got around to sub editing and texts. We distribute the paper free to tions and relations captured in a single image… doing it – but this time I felt the time was right, so I local households around Chatsworth Road as well as started taking photos with no particular plan in mind, shops, cafes and bars in Hackney. A big thank you for all the very high-quality submis- except that I wanted to include the whole demograph- sions we’ve received for this summer issue. We hope ic spectrum; the businesses, the people and the area. My idea has always been to make a local magazine but we’ve assembled a broad and interesting spectrum At the time, I wasn’t getting many commissions as a with a high quality and content interesting enough of visual storytelling that will engage, inspire and photographer and our economy wasn’t great. I felt to appeal to people wherever they live. We have a facilitate our discussion around photography. depressed at times not always knowing how to pay pretty big following, with advertising agencies, art the bills, but keeping myself busy with personal magazines and travel guides all picking up on it. Now for a little heads-up! The winter issue of fLIP work always seem to be a good way for me to fight Being funded by local advertising it doesn’t make any will be a collaboration with the Urban Photo Fest, depression, which led to a very productive start. money, so all my work is done in my spare time. It which is organised in association with Goldsmiths can be challenging at times, but it’s a labour of love. I College, to be held across London from 10-15th It was after I did my first pop-up portrait studio the hope that one day it will become an important archive November, 2017. It’s very exciting news not just idea of a magazine came along. I had offered everyone of a small geographical area; something for future because it’s a great opportunity to be part of this who sat for me a free print. To manage this financial- generations to look at and use in research. festival, but it also opens up the potential to broaden ly I did a crowdfunding to buy a printer, and enough our readership. Therefore, the theme for the next ink and paper to hand out 300 or so portraits. A new I’ll probably go on as long as I have the time and issue will be ‘Urban’ and the submission deadline landlord on the street let me use his empty shop for energy. It would be great to invest at least 10 years will be slightly earlier than usual. Look out for it. a week and people from all backgrounds and ages in total, leaving me another three years to photograph We’ll publish the final date on the website and circu- came by, and despite the saturated digital market here, but then I might never stop! I’m very lucky to late it in the monthly highlights. everyone seemed thrilled about getting an actual print be doing this, and it is a fantastic way to learn about of themselves to put on the wall. After this I decided to people and your local community. It has also led to In the meantime, all of us at fLIP wish you a great do an exhibition locally (I thought it would be wrong some great commissions for me. There are photograph- summer with lots of inspiration for your photogra- to show the photos in a gallery remote from the people ic opportunities everywhere, and one doesn’t always phy! in my photos) and I came up with the idea of the paper, have to travel to a different country to photograph for showing a selection of the photos. It was printed in a project. If you have a digital camera and more than Best wishes, limited edition of 500 and alongside my photos, were an hour a week to spare, then you can always create stories written by local people. The paper was well something interesting. Frank Orthbandt received, and today is still going strong; I’ve just finished issue 6! Now it looks more like a magazine [email protected] and is printed in 5000 copies, with plans to grow. I have talented contributors to do illustrations, design, All images ©Jørn Tomter/I Love Chatsworth Road 4 FLIP FLIP 5 MY WAY Ophelia By Nicola Jayne Maskrey ' An exploration of the story of Shakespeare’s Ophelia, made in response to previous artistic interpretations of the text.' s a teenager, I was sitting by the heavy symbolism of the Pre-Raphaelite paintings, but Goodwin Fountain in Sheffield town to reference the story of Ophelia picking flowers next centre one Saturday afternoon (the to a river, we picked a handful of Crocosmia leaves same fountain Pulp sings about), when and flowers that were growing nearby.